The Church Music Association of America

June 25—July 1, 2012 Salt Lake City Sacred Music Colloquium XXII June 25–July 1, 2012

Liturgical Music

Morning and Night Prayer Extraordinary form...... 17

Tuesday, June 26, 5:15 p.m. Mass in English, ordinary form, Votive Mass of St. John the Baptist...... 33

Organ prelude: Fantasy & Fugue in C Minor, BWV 537, J. S. Bach (Ryan) Introit: De ventre matris meae, mode i (men’s schola) Kyrie: Mueller (Brouwers) Gloria: Mueller (Brouwers) Gradual: Priusquam, mode v (women’s schola) Alleluia: Tu puer, mode ii (women’s schola) Offertory: Justus ut palma, mode iv (men’s schola) Motet at Offertory: Hear the Voice and Prayer, Thomas Tallis (Mahrt) Sanctus: Mueller (Brouwers) Agnus Dei: Mueller (Brouwers) Communion: Tu puer, mode ii (women’s schola) Motet at Communion: Come Holy Ghost, Orlando Gibbons (Buchholz) Recessional: Ut queant laxis, tutti Organ postlude: Pièce d’Orgue, BWV 572, J. S. Bach (Ryan)

2 n Sacred Music Colloquium 2012 Liturgical music Wednesday, June 27, 5:15 p.m. Requiem Mass, extraordinary form...... 57

Introit: Requiem aeternam, mode vi (women’s refresher) Kyrie: Mass XVIII, ninefold, men begin Gradual: Requiem aeternam, mode ii (women’s schola) Tract: Absolve, mode viii (men’s schola) Sequence: Dies irae, mode ii, men begin Offertory: Domine Jesu Christe, Francisco Guerrero (Mahrt) Sanctus: Mass XVIII Agnus Dei: Mass XVIII Communion: Lux aeterna, mode viii (men’s refresher)

See notes beginning on page 269.

Thursday, June 28, 5:15 p.m. Memorial of St. Irenaeus, Bishop and Martyr, ordinary form...... 73

Organ prelude: Variations on Sanctorum Meritis, Jean Titelouze (Labounsky) Introit: Loquetur Dominus pacem, mode iii (Brouwers seminar) Kyrie: Mass II, ninefold, women begin Gradual: Inveni David, servum meum, mode i (men’s schola) Alleluia: Spiritus Sanctus docebit vos, mode viii (men’s schola) Offertory: Benedicam Dominum, mode i (Schaefer seminar) Sanctus: Mass II Agnus Dei: Mass II Communion: Quod dico vobis, mode iv (women’s schola) Motet at Communion: O Sacrum Convivium, Giovanni Croce (Buchholz) Organ postlude: Magnificat on the Eighth Tone, Titelouze (Labounsky)

Liturgical music Sacred Music Colloquium 2012 n 3 Friday, June 29, 5:15 p.m. Solemnity of Sts. Peter and Paul, Apostles, extraordinary form...... 87

Organ prelude: “Adagio” from Symphonie No. 3 in F-sharp Minor, Op. 28, Louis Vierne (Ryan) Introit: Nunc scio vere, mode iii (men’s schola) Kyrie: Messe solennelle, Vierne (Buchholz) Gloria: Messe solennelle (Buchholz) Gradual: Constitues eos, mode v (women’s schola) Alleluia: Tu es Petrus, mode ii (women’s schola) Credo I: tutti Offertory: Constitues eos, with verses, mode iii (Brouwers seminar) Sanctus: Messe solennelle (Buchholz) Agnus Dei: Messe solennelle (Buchholz) Communion: Tu es petrus, mode vi (men’s schola) Motet at Communion: Quem dicunt, Adrian Willaert (Mahrt) Recessional: The Son of Man, Newman/Pluth Organ postlude: “Final” from Symphonie No. 3 in F-sharp Minor, Op. 28, Vierne (Ryan)

See notes beginning on page 274.

Saturday, June 30 11 a.m. Votive Mass of the Blessed Virgin Mary, ordinary form...... 155

Organ prelude: “Virgo mediatrix” from Offrande à la Vierge, Op. 40, Marcel Dupré (O’Neill) Introit: Salve sancta parens, mode ii (men’s refresher) Kyrie: Mass IX, ninefold, men begin Gloria: Mass IX, tutti Gradual: Diffusa est, mode v (men’s schola) Alleluia: Virga Jesse floruit, mode viii (men’s schola) Offertory: Ave Maria, mode viii (women’s schola) Motet at Offertory: Ave Maria . . . Virgo serena, Josquin des Prez (Brouwers) Sanctus: Mass IX Agnus Dei: Mass IX Communion: Beata viscera, mode i (men’s foundation) Motet at Communion: Ave Maria, Edward Elgar (Nam) Recessional: Ave maris stella, alternatim, women begin Organ postlude: “Fantasie-Improvisation sur Ave maris stella” from Five Improvisations (Reconstructed by Maurice Duruflé), Charles Tournemire (O’Neill)

4 n Sacred Music Colloquium 2012 Liturgical music Saturday, June 30, 3 p.m. Vespers, extraordinary form, conducted by William Mahrt...... 179

Sunday, July 1, 11 a.m. 13th Sunday of the Year (Year B), ordinary form...... 219

Organ prelude: Chaconne in C Minor, BuxWV 159, Dietrich Buxtehude (Buchholz) Introit: Omnes gentes, mode vi (women’s schola) Kyrie: Messa da cappella à 4, 1650, Claudio Monteverdi (Brouwers) Gloria: Messa da cappella à 4 (Brouwers) Gradual: Venite filii, mode v (Schaefer seminar) Alleluia: Omnes gentes, mode i (men’s schola) Credo: Messa da cappella à 4 (Brouwers) Offertory: Sicut in holocausto, mode v (women’s schola) Motet at Offertory: O sacrum convivium, Cristóbal Morales (Brouwers) Sanctus: Messa da cappella à 4 (Brouwers) Agnus Dei: Messa da cappella à 4 (Brouwers) Communion: Inclina aurem tuam, mode iv (women’s foundation) Motet at Communion: to be determined (Nam) Recessional: Ave Maria, Anton Bruckner, tutti Organ postlude: Improvisation—Hommage à Buxtehude (Buchholz)

Appendix Brouwers Advanced Chant Seminar...... 272

Propers for the Requiem Mass...... 277

Propers for the Solemnity of Sts. Peter and Paul...... 282

Veni Creator Spiritus...... 286

Prayer for Religious Liberty...... 288

Liturgical music Sacred Music Colloquium 2012 n 5 Choosing a chant course

hen you come to the Colloquium, you will need to choose a chant course for your partici- Wpation during the week. There are few joys greater than singing in a well-prepared Grego- rian chant schola. Although there is always a little tweaking after the first day, i.e., singers moving up or down a level, most people find it relatively easy to choose.

The following guidelines will help you find the right group in which to sing for the week.

Foundations (two sections: men, women) Faculty: Arlene Oost-Zinner, women; David J. Hughes, men

This course in Gregorian chant, according to the Solesmes method, is intended for real chant beginners—both those who can read modern notation and those with no musical training. Participants will learn how to read the four-line staff, the names of the neumes, and how to navigate intervals with solfege. Rhythm will be introduced. Course material will include the Ordinaries of the Mass and one Proper, with the latter being performed during Mass toward the end of the week.

Refresher (two sections: men, women) Faculty: Mary Jane Ballou, women; Jeffrey Ostrowski, men

This course offers continued study in Gregorian chant and is intended for those who have had some background in chant but do not sing chant on a regular basis. Instructors will focus on using the Solesmes method (to establish common vocabulary among Colloquium participants). The primary aim of this beginning-to-intermediate course (as with the foundations course) is not performance during the liturgy. Participants will be responsible for singing the Ordinaries of the Mass and will be prepared to sing one chant Proper toward the end of the week. Methods beyond Solesmes will be introduced.

Schola (two sections: men, women) Faculty: Charles Cole, women; Jeffrey Morse, men

This course is intended for proficient and advanced singers who sing chant regularly. The two scholas (men, women) will be responsible for the bulk of the Mass Propers sung during the week. Method of interpretation is left to the conductor.

6 n Sacred Music Colloquium 2012 Choosing a chant course Advanced Seminars (two sections, men and women combined) Faculty: Wilko Brouwers and Edward Schaefer

These courses are intended for advanced singers (both men and women) who wish to continue their study of Gregorian chant. Instructors will focus on their areas of specialty (conducting, history, semiology, etc.). The raison d’etre is study rather than performance, with each seminar preparing one or two Mass Propers during the week.

Wilko Brouwers: Style and interpretation in chant performance

Day One: This introductory lecture will examine chant notation while asking the question “Are all notes of equal importance?” If they are not, what are the consequences of this conclusion for the performance of chant? The technique of melody reduction (skeleton) and reconstruction is a helpful instrument to “understand” the importance of notes.

Day Two: The technique of melody reduction and reconstruction (continued)

Days Three and Four: Questions of style and interpretation. Should chant be sung without (too much) expression? Should it always be sung at the same tempo? What about the dynamic range? On days three and four participants can do a solo performance of a (self-chosen) chant piece.

Day Five: Unfinished business, Q & A

Edward Schaefer: Semiology

This seminar will engage in a study of the earliest chant-notation systems as demonstrated in the Laon and St. Gall families of manuscripts and reproduced in the Graduale Triplex. In particular, focus will be given to the interpretation of the rhythmic signs in these notation systems and their application to contemporary chant performance.

Day One: Syllabic and semi-florid chants

Day Two: Semi-florid chants

Day Three: The principle of separation

Day Four: Florid chants

Day Five: Unfinished business, Q & A

Choosing a chant course Sacred Music Colloquium 2012 n 7 Choosing a polyphonic choir

eing part of a polyphonic choir is one of the many highlights of the Colloquium. Note that there is no sign-up or pre-registration for any of the groups. Simply arrive at the rehearsal Bof your choice on Tuesday afternoon. If the conductors find they have too many sopranos or too few tenors, for example, a little shifting around may occur from choir to choir on the first day. But as a matter of good choir etiquette, conductors ask that you not bounce from choir to choir. Five days of rehearsal is not a long time to develop an ensemble sound, and the deadlines of performing in liturgy loom delightfully throughout the week. N.B. If your plans require that you depart the Colloquium before Sunday, July 1, please do not pick the choir whose main work will be performed on that day (Brouwers) and so on.

Mee Ae Nam: Beginning polyphony

This choir is designed to introduce and improve on the critical vocal and musical techniques necessary for singing polyphonic music. Singers will learn how to carry a part on their own, independent of other sections, and without accompaniment. Members of the 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, including the Elgar Ave Maria, are part of this choir’s agenda and will be sung during the liturgy.

William Mahrt

For the fifth year Dr. 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’s focus will be on the works of Orlando di Lasso (c1532–1594). The format alternates between chant and polyphony and requires highly skilled singers with confidence at frequent and exposed stops and starts. This choir provides a rich education in liturgical history as well as performance experience that will take the already advanced singer to the next level. The choir will also sing motets throughout the week. Vespers will be sung on Saturday afternoon.

Wilko Brouwers

This year Maestro Brouwers will conduct Claudio Monteverdi’s Messa da cappella à 4 (1650).The work of Monteverdi (1567–1643) marked the transition from the Renaissance style of music to that of the Baroque period, and Brouwers is profoundly in tune with what is necessary to bring this unique music to life. A notable skill level among singers is required to achieve the desired results. The Monteverdi Mass will be sung during the Colloquium’s closing liturgy on Sunday, July 1. This choir will also sing motets during the week.

8 n Sacred Music Colloquium 2012 Choosing a polyphonic choir Horst Buchholz

Dr. Buchholz is a conductor with near-universal experience with both early choral music and the romantic repertoire. He has a particular affection for music that is symphonic in scope yet accessible to both singers and listeners. His choir will sing the Messe Solennelle, Op. 16, with its notably grand organ accompaniment, by French composer Louis Vierne (1870-1937), considered one of the greatest musical improvisers of his generation. The Vierne Mass will be sung during Mass in the extraordinary form on Friday, June 29, the Solemnity of Sts. Peter and Paul. This choir will also sing motets during the week.

Choosing a polyphonic choir Sacred Music Colloquium 2012 n 9 Morning breakout sessions

Alphabetical by presenter

Wilko Brouwers Conducting: Principles of conducting technique

Horst Buchholz Conducting: Technical aspects of choral singing

Organ breakout: Organ improvisation 101. Instruction on creating short preludes, interludes, and postludes that are both suitable and practical for liturgical celebration. The thematic base will primar- ily be drawn from hymns.

Charles Cole Conducting: Basic conducting technique The Solesmes chant tradition: The original neumatic signs and practical performance today.

Aristotle Esguerra Chant engraving with Gregorio: An introduction The class will introduce and demonstrate the use of Gregorio software for transcribing Gregorian chants and composing plainsong melodies. Participants will learn the basics of the gabc chant-markup language, rules of typesetting Latin and vernacular texts, and how to produce an attractive, high-reso- lution chant score using one of two online Gregorio interfaces.

Prerequisites: Working knowledge of chant notation and terminology, wifi-enabled laptop with a up- to-date web browser and OpenOffice software (available at openoffice.org).N.B. This course will not cover installing Gregorio software on one’s own computer.

Paul Ford The Graduale Simplex and By Flowing Waters: What they are, how they came to be, how they are used

David Hughes Composers’ forum: The composers’ forum meets each day. Composers should plan to bring a work in progress, which will be critiqued and discussed by the instructor and class, with the goal of produc- ing polished pieces by the end of the week. Composers should bring manuscript paper or a laptop with music-notation software so they can make revisions and edits to the works in progress during the week. Composers planning to participate in the forum are asked to e-mail newmusic@musicasacra. com. Finished works will be read by Colloquium attendees at the New Music Reading Session on Sat- urday afternoon.

Ann Labounsky Lecture: Building a degree program in sacred music, using the example of Duquesne University

10 n Sacred Music Colloquium 2012 morning breakout sessions Organ session/recital: “Jean Langlais: The Man and His Music.”

“A Servant of the Church” Advent: Pensez à l’éternité Christmas: Eight Songs of Brittany, Noël Breton Palm Sunday: Dominica in Palmis Holy Saturday: Incantation pour un jour sainte Pentecost: Troisième personne: le Saint Esprit

“A Story Teller” Offrande à Marie: Regina Angelorum American Suite: Boys Town, Place of Peace; Scherzo-Cats Neuf Pièces: Chant Héroïque

“A Man of Many Moods” Organ Book: Pasticcio Suite française: Nazard Suite française: Dialogue sur les flûtes Fête

Melanie Malinka Teaching young choristers healthy vocal habits: 11 a.m. to noon Thursday, June 28 As choir directors, music teachers, and voice coaches, we are entrusted with the care of our singers’ voices. When those singers are 10 years old or even as young as 7, our concern should be not only for their immediate vocal health but also the longevity of their developing voices. The goal of this class is to provide choral conductors and music instructors with a concise vocal-training curriculum that fo- cuses on the promotion of healthy vocal habits when singing challenging sacred choral repertoire. The class will culminate in a short master class with students and choristers from The Madeleine Choir School.

Teaching adolescent choristers healthy vocal habits: 11 a.m. to noon Friday, June 29 As choir directors, music teachers, and voice coaches, we are entrusted with the care of our singers’ voices. Although emphasis should be placed on the development of a natural voice when instructing young boy and girl choristers, we must also focus on maintaining healthy vocal habits when working with the maturing voices of adolescent singers. The goal of this class is to provide choral conductors and music instructors with an overview of basic vocal technique while focusing on the unique vocal challenges male and female adolescent singers face during the crucial teenage years. The class will culminate in a short master class with choristers from The Madeleine Choir School and The Choir of The Cathedral of the Madeleine.

Matthew J. Meloche Maintain and strengthen your position and program This practical course will show you how to maintain and strengthen your current position and program, whether you are the music director of a large parish or the director of a small choir. Special emphasis will be given to changing the direction of a program, with positive advice for doing so while keeping your leadership role secure.

morning breakout sessions Sacred Music Colloquium 2012 n 11 Mee Ae Nam Vocal pedagogy, session one: Exercises to control vocal quality This session will help understanding and developing healthy and even (blendable) vocal tone production through specific exercises to correct vocal tone problems such as tight, breathy, flat singing and unfocused and uncontrolled production. The session will introduce an efficient use of consonants, vocal improvisation techniques, how to find the center of voice and useful vocal range, how to clas- sify voices, and other simple tricks for tone-quality control. Attendees will actively participate in vocal exercises.

Vocal pedagogy, session two: Tone building and breath support The session will demonstrate the use of respiration in vocal production, how to be aware of and man- age the efficient use of breath, and how to recognize proper breath support in the body and the voice. A number of exercises will be demonstrated during the session.

Jeffrey Ostrowski Toward a “complete” parish hymnal: The Vatican II project Is there such a thing as a “perfect” Catholic hymnal? Should we even be talking about a hymnal for the Catholic Mass? Jeff Ostrowski, editor of Corpus Christi Watershed’s new Vatican II Hymnal, shares the vision behind the project as well as some successes and failures. One thing the editor learned is that every musician has an opinion when it comes to hymns!

Sister Marie Agatha Ozah, HHCJ, Ph.D. Gregorian chant and world music: Tensions and solutions for the liturgy Chant is one of the oldest religious music genres in the world, and its centrality in Buddhist, Hindu, Judaic, Christian, and Islamic worship cannot be overemphasized. In the Christian Church alone, one can name Byzantine, Ethiopian, Anglican, and Gregorian chant, for example, as indispensable vehicles of religious worship. This lecture explores the significance and uses of chant in some world religions. It will focus specifically on Gregorian chant in the Roman Catholic liturgy.

The traditionalism and canonicity that Gregorian chant enjoyed for centuries was disputed by the Second Vatican Council, which encouraged the use of other forms of world music as backdrop in the liturgy. The introduction and use of world music in the liturgy has fostered the continuous decline of the use of Gregorian chant, an issue that has become a cause of concern among sacred music scholars. The dilemma of whether or not the Roman Catholic liturgy is a common ground where tensions can be resolved persists today.

The Rev. Robert Pasley Priest and deacon chants for Mass: If you’re going to sing the Rite, sing it right! In this four-day course for priests, deacons, seminarians, and those who can teach all of the above, registrants will have the opportunity to learn chants for the celebrant at sung Masses in both the ordinary and extraordinary forms of the Roman Rite. The basics for the priest’s chants, in both forms, are founded on the rules stated in the Liber Usualis.

This course will address “singing the Mass, not singing at Mass”: the singing of orations, readings, prefaces, various intonations, and more. It is extremely important that you bring the new English Mis- sal. Priests and deacons should bring one from their parish. Everyone else should borrow one from

12 n Sacred Music Colloquium 2012 morning breakout sessions their home parish or school and bring it along. The class will involve instruction as well as practical applications and will progress from simple to more complex chants as the week unfolds.

Kathleen Pluth Vernacular hymns: The good, the bad, and the heretical Although sung Propers are always the best choice for Mass, parish musicians are still often called upon to select hymns for Mass, devotions, and the Liturgy of the Hours. Choosing among the various op- tions can be a daunting task. This lecture begins with an examination of the importance of hymns in the Church from apostolic times, preceding the Reformation by many centuries. Then individual hymns will be sung and analyzed for their usefulness in teaching and evangelization, focusing primar- ily upon textual and theological considerations.

Kurt Poterack Lecture: Documents on Church music

Conducting: Gregorian chironomy

Jonathan Ryan High music for a low Sunday This organ session will focus on easy-to-intermediate and/or little-known organ repertoire from mul- tiple periods appropriate for liturgical celebrations throughout the Church year. Repertoire based on Gregorian chant will be included. A handout will provide publisher information. Certain practical performance practice issues will also be discussed. Although all are welcome, this session is geared toward not-so-advanced organists, organists new to Catholic liturgical contexts, and organists looking for new service-music repertoire.

Susan Treacy Treasures of sacred music in liturgical context Many masterpieces of sacred music are well appreciated as concert pieces or ornamental accessories to the Mass. In this lecture, however, selected motets will be discussed in relation to their liturgical func- tions. The lecture will feature recorded examples.

Monsignor Andrew Wadsworth Aspects of English translation This lecture will examine challenges and difficulties in rendering Latin liturgical text into English, as well as musical considerations.

Paul Weber An introduction to the music of Joseph Gabriel Rheinberger This session examines Rheinberger’s significance as a composer of sacred music in the late 19th century. Composer, performer, and pedagogue, this largely forgotten master was at the center of the Wagner and Brahms controversies at the time and an influence on the trajectory of Church music at the dawn of the 20th century.

morning breakout sessions Sacred Music Colloquium 2012 n 13 Afternoon breakout sessions

Offered concurrently with polyphony rehearsals

For non-singers and singers alike

Edward Schaefer History of sacred music, 2–3 p.m. Tuesday through Friday

Tuesday: The extraordinary form of the Mass and its special musical considerations A session of particular value to those less familiar with the extraordinary form of the Mass. A look at some of the most significant musical differences between the extraordinary and ordinary forms of the Mass, how the musical practices of the traditional Mass developed, and how they serve as the handmaid of the liturgy. This session will make it much easier to follow the celebrations of the traditional Mass during the colloquium.

Wednesday: Vive la France! A look at some of the unique contributions of France to the musical patrimony of the Church

Thursday: Inculturation A look at the evolving definition of this term: how it has been applied in the past versus the way it is applied today

Friday: Contemporary music in a traditional Church A walk through 20th- and 21st-century musical developments for the extraordinary form of the Mass

Jeffrey Tucker Lecture series, 2–3 p.m. Tuesday through Friday

Many people who stumble into a Catholic parish for the first time expect Gregorian chant and heavenly music and find themselves startled by the modern reality. How did this happen? How did we get where we are today? And what efforts are being made to bring to the liturgy its true voice? This four-part series will explore the 20th-century history of the status of Church music and elucidate a coherent picture of the efforts to restore Gregorian chant. There will be particular focus on one of the great puzzles of our time: the loss of the Mass propers as primary liturgical song texts.

In Tucker’s view, the present challenges we face stem not from conspiracy or malice but a series of small missteps that upset the delicate consensus that had been arrived at only at the turn of the 20th century. Understanding this history helps illuminate a path forward for reform—a reform that is much closer within our reach than is usually believed.

14 n Sacred Music Colloquium 2012 afternoon breakout sessions Organ music notes

Jonathan Ryan, organist Tuesday, June 26, 5:15 p.m. Mass

Likely dating from the end of the Weimar period (1708–1717) of Johann Sebastian Bach (1685– 1750), the somber Fantasy & Fugue in C Minor, BWV 537, represents a growth in Bach’s free-form composition to include works of more poignancy than virtuosity. Indeed, the opening exclamatio figure of an ascending minor sixth that forms the imitative basis for the Fantasy yields a work of extraordinary surprises and highly forward-looking harmonies. The notable chromaticism of the Fantasy gives way to an exclusively chromatic secondary theme in the Fugue, heard first in the middle “B” section and then in combination with the declamatory primary theme.

Also from the Weimar years but around 1710, the Pièce d’Orgue, BWV 572, also termed “Preludio” and “Fantasie,” stands as a unique work in the Baroque organ repertoire. Not paired with a fugue, this étude in harmony consists of three sections—Très Vitement-Gravement-Lentement—and perhaps owes its French title to the weighty middle Gravement section, whose nearly endless deceptive cadences and chromaticism closely resemble the Grand Jeu movements of the French Baroque.

Ann Labounsky, organist Thursday, June 28, 5:15 p.m. Mass

Like Nicolas DeGrigny, Jean Titelouze (1562-1633) spent most of his life outside of Paris and court life in the smaller town of Rouen in Normandy, where he was a priest and organist of the Cathedral. His entire opus comprises variations on 11 familiar Gregorian-chant hymns (1624) and Magnificat settings (1626), which were performed in alternation between the choir and the organ. The style is exemplary of the vocal Renaissance period yet idiomatic for the organ, with well-defined voice-leading and pedal parts that employ strict imitation and canon. Unlike his successors, such as Couperin and DeGrigny, he was not influenced by the French court dances such as the minuet and gigue.

Jonathan Ryan, organist Friday, June 29, 5:15 p.m. Mass

In summer 1911, eight years after completing his Second Symphony, Louis Vierne (1870-1937) returned to writing the third of his Six Organ Symphonies. Demonstrating Vierne’s stylistic development at the time, the Troisième Symphonie in F-sharp Minor is noted for its comparatively compact yet memorable nature. Perhaps the emotional center of the work, the fourth of five movements, the sublime Adagio, hearkens back to César Franck in its soaring yet meditative melody, highly chromatic harmony, and frequently vague rhythm. The Finale, true to organ-symphony form, launches immediately as a quintessential fiery toccata with its first rhythmically charged theme heard at the outset, surrounded by a restless accompaniment. The second theme, by contrast, is more lyrical but seems unable to achieve any true lyricism in its turbulent surroundings. The first theme ultimately brings the movement to a thrilling conclusion in F-sharp major.

organ music notes Sacred Music Colloquium 2012 n 15 Doug O’Neill, organist Saturday, June 30, 11 a.m. Mass

Marcel Dupré (1886–1971) was famous for performing organ concerts throughout the world but also left a legacy of music suitable for the Church. He composed Offrande à la Vierge (“Offering to the Virgin”) in 1944. The third movement is titled “Virgo mediatrix” and refers to Mary’s traditional role in the Church as a mediator in salvation.

Charles Tournemire (1870–1939), unlike many of his contemporaries, concentrated his life’s work principally on music for the liturgy, culminating in his massive organ cycle L’Orgue Mystique for the liturgical year, specifically for use during the Mass and almost entirely based on plainchant. Tournemire was also perhaps the first great organ improviser of the 20th century and made many 78-RPM recordings of this art. His student Maurice Duruflé (1902–1986) later transcribed five of these improvisations, selecting two free improvisations and three based on plainchant: the hymn Te Deum laudamus, the Easter sequence Victimae paschali laudes, and this piece on the Marian hymn Ave maris stella. It is the legacy of a great musician fully and humbly devoted to his work for the Church.

Horst Buchholz, organist Sunday, July 1, 11 a.m. Mass

Seemingly preceding the 20th-century minimalist movement by centuries, a chaconne centers itself around comparatively slim musical material, namely, a repeating harmonic progression, to create a series of continuous variations. One of three “ostinato” organ works by Dietrich Buxtehude (c1637–1707), the Chaconne in C Minor utilizes a four-measure harmonic progression to yield a piece of extraordinary variety, intimacy, and drama, perhaps giving just insight to J. S. Bach’s captivation with the North German Baroque master.

16 n Sacred Music Colloquium 2012 organ music notes Morning and Night Prayer

Prepared by William Mahrt

Extraordinary Form

Morning and night prayer Sacred Music Colloquium 2012 n 17 18 n Sacred Music Colloquium 2012 Morning Prayer Morning Prayer Sacred Music Colloquium 2012 n 19 20 n Sacred Music Colloquium 2012 Morning Prayer Morning Prayer Sacred Music Colloquium 2012 n 21 22 n Sacred Music Colloquium 2012 Morning Prayer Morning Prayer Sacred Music Colloquium 2012 n 23 24 n Sacred Music Colloquium 2012 Morning Prayer Morning Prayer Sacred Music Colloquium 2012 n 25

COMPLINE NIGHT PRAYER

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26 n Sacred Music Colloquium 2012 Night Prayer

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

A cross is made on the heart. A cross is made on the heart.

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Night prayer Sacred Music Colloquium 2012 n 27 PSALMODY

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

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Psalm 4 Psalm 4 Cantor (Gospel side): Cantor (Gospel side): B bbbbb bbbbbb bbbbbb bbbbb bgb bbbbbbb bbbbbb bbbh bbbb bbbbbb bbbbbb bÃb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbb bbbbbb bbbbbb bbbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbb bb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbbb bbbbbbb´lbbbb bbbÃ bbbbb bbbbbb bbbk /bbbb bbbbbb ] B bbbbb bbbbbb bbbbbb bbbbb bbbbbbg bbb bbbbbb bbbbh bbb bbbbbb bbbbbbÃ bbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbb bbbbbbb bbbbbb bbbbbb bbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbbb bbbbb bbbbbb bbbbbbbb bbbbbb bbbbbb bbbbbbb bbbbbb bbbbbb bbbbbb´bbblb bbbbbb bbbbb bbbbbb bÃbbbbbbbbbbbkbbbbbbbbb]bbbbb 1. Cum in-vocárem exaudívit me Deus justítiæ me- æ * 1. When I called upon him, the God of my justice heard me: * Be seated. Be seated. All (Gospel side): All (Gospel side): ´ ´ ´ ´ BbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbkbbbbbbbbbbbbbbbbhbbbbbbbbbbbòbbbbbbbbbbg

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.

28 n Sacred Music Colloquium 2012 Night Prayer 6. A sagítta volánte in die, † a negótio perambulánte in 6. Of the arrow that flieth in the day, † of the business that ténebris: * ab incúrsu, et dæmónio meridiáno. walketh about in the dark: * of invasion, or of the noonday devil. 7. Cadent a látere tuo mille, † et decem míllia a dextris 7. A thousand shall fall at thy side, † and ten thousand at thy tuis: * ad te autem non appropinquábit. right hand: * but it shall not come nigh thee. 8. Verúmtamen óculis tuis considerábis: * et 8. But thou shalt consider with thy eyes: * and shalt see the retributiónem peccatórum vidébis. reward of the wicked. 9. Quóniam tu es Dómine spes mea: * Altíssimum 9. Because thou, O Lord, art my hope: * thou hast made the posuísti refúgium tuum. most High thy refuge. 10. Non accédet ad te malum: * et flagéllum non 10. There shall no evil come to thee: * nor shall the scourge appropinquábit tabernáculo tuo. come near thy dwelling. 11. Quóniam Ángelis suis mandávit de te: * ut custódiant 11. For he hath given his angels charge over thee, * to keep te in ómnibus viis tuis. thee in all thy ways. 12. In mánibus portábunt te: * ne forte offéndas ad 12. In their hands they shall bear thee up, * lest thou dash thy lápidem pedem tuum. foot against a stone. 13. Super áspidem et basilíscum ambulábis: * et 13. Thou shalt walk upon the asp and the basilisk: * and thou conculcábis leónem et dracónem. shalt trample under foot the lion and the dragon. 14. Quóniam in me sperávit, liberábo eum: * prótegam 14. Because he hoped in me I will deliver him: * I will protect eum, quoniam cognóvit nomen meum. him because he hath known my name. 15. Clamábit ad me, et ego exáudiam eum: † cum ipso 15. He shall cry to me, and I will hear him: † I am with him in sum in tribulatióne: * erípiam eum et glorificábo eum. tribulation, * I will deliver him, and I will bring him to honor. 16. Longitúdine diérum replébo eum: * et osténdam illi 16. I will fill him with length of days: * and I will show him salutáre meum. my salvation. 17. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 17. (bow) Glory be to the Father and to the Son * and to the Holy Spirit. 18. (rise) Sicut erat in princípio, et nunc, et semper, * et 18. (rise) As it was in the beginning, is now, and ever shall be, in saécula sæculórum. Amen. * world without end. Amen.

Psalm 133 Psalm 133 Cantor (Gospel side): All (Gospel side): Cantor (Gospel side): All: (Gospel side): 1. Ecce nunc benedícite Dóminum, * omnes servi 1. Behold now bless the Lord: * all ye servants of the Lord: Dómini. 2. (Epistle side): Qui statis in domo Dómini, * in átriis 2. (Epistle side): Who stand in the house of the Lord, * in the domus Dei nostri. courts of the house of our God. 3. In nóctibus extóllite manus vestras in sancta, * et 3. In the nights lift up your hands to the holy places: * and benedícite Dóminum. bless ye the Lord. 4. Benedícat te Dóminus ex Sion, * qui fecit cælum et 4. May the Lord out of Sion bless thee, * he that made heaven terram. and earth. 5. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 5. (bow) Glory be to the Father and to the Son * and to the Holy Spirit. 6. (rise) Sicut erat in princípio, et nunc, et semper, * et in 6. (rise) As it was in the beginning, is now, and ever shall be, saécula sæculórum. Amen. * world without end. Amen. All: All: BbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbgbbbbbbbbbbbbhbbbbbbbbtfbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbhbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbg

Night prayer Sacred Music Colloquium 2012 n 29 HYMN

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

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CHAPTER & SHORT RESPOND

Tu autem in nobis es Dómine, † et nomen sanctum Thou art in the midst of us, O Lord, † and upon us tuum invocátum est super nos: * ne derelínquas nos thy holy name is invoked: * do not desert us, O Dómine Deus noster. (Jerem. 14: 9) Lord our God. V bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbhbbbbbbbbbbbbbbbfbbbbbbbbbbbbbdbbbbbbbbbbbbDRM,bbbbbbbbbbbbbbbb} V bbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbdbbbbbbbbbbbbbbbbbbbbbbDRM,bbbbbbbbbbbbbbbb} R. De- o gra- ti- as. R. Thanks be to God. BbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbFTbbbbbbbbgbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbgbbbbbbbbGY,.bbbbbbbbbbbbbb{bbbbbbbbbbbbbhbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbbgbbbbbbbbr®sbbbbbbFTbbbbbbbbbbbbbbbbbbbbbbbbbbbg,bbbbbbbbbbfb,bbbbbbbbb} BbbbbbbbbbbbfbbbbbbbbfbbbbbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbb{bbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbbbGYbbbbbbbbbbbbbbbbbbb5z$@bbbbbbbbbbbbbbbbbbbFTbbbbbbbbbbbbbbbbg,bbbbbbbbbbbbbbbbbbbbbbbfb,bbbbbbbbbbbbbbb} R. In manus tuas Dómine, * Coméndo spí-ritum me-um. R. Into your hands, O Lord, * I commend my spirit. Repeat: In manus tuas . . . Repeat: Into your hands Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbb\bbHUbbbbbbbbbbhbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbb≥gbbbbbbbbbbbb[bbbbbbbbhbbbbbbgbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbtfbbbbbbbbbbbgbbbbbbbbbbbbbbbGY,.bbbbbbbbbb} Bbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbb\bbHUbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbb[bbbbbbbbbbbgbbbbbbbbbbbbbbbtfbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbGY,.bbbbbbbbbb} V. Redemísti nos Dómine, De-us ve- ri- tá- tis. V. For you have redeemed me, O Lord, O God of truth. Repeat: Commendo . . . Repeat: I commend . . . Bbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbbhbbbbbbbb\bHUbbbbbbbbbbbbb˘hbbbbbbb[bbbbbbbbbhbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbbbb≥gbbbbbbbb[bbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbhbbbbbbbbbgbbbbbbbbbfbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbGY,.bbbbbbbbbbbb} Bbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbhbbbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbbbbbhbbbbbbbbbbbbb\bHUbbbbbbbbbbbbbbbhbbbbbbb[bbbbbbbbbgbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbb[bbbbbbbbbbgbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbfbbbbbbbbbbbbbgbbbbbbbbbbbb V. Gló-ri- a Pa-tri et Fí- li- o, et Spi-rí-tu- i Sancto. V. Glory be to the Father, and to the Son, and to the Ho-ly Spirit. Repeat: In manus tuas . . . BbbbbbbbbbbbbbbbbbbbbGYbbbbbbbbbbbh.bbbbbbbbbbbbb} Spi-rit. Repeat: Into your hands

30 n Sacred Music Colloquium 2012 night Prayer

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GOSPEL CANTICLE

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Canticum Simeonis Canticle of Simeon The sign of the cross is made The sign of the cross is made Cantor (Gospel side): Cantor (Gospel side): ´ } ´ ´ } ´

BbbbbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbÃbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbuhbbbbbbbbbbbbbbk/bbbbbbbbbbbbb]bbbb BbbbbbbbbbbbbbbbbbbbbbbbgbbbbbbbbbbbbbbbbbbbbbbHIbbbbbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbblbbbbbbbbbbbbbÃbbbbbbbbbbbbkbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbuhbbbbbbbbbbbbk/bbbbbbbbbbbbb]bbbb 1. Nunc dimíttis ✠ servum tuum Dómi-ne, * 1. Now dost thou ✠ dismiss thy servant, O Lord, * All (Gospel side): All (Gospel side): ´ ´ bBbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbkbbbbbbbbbbbbÃbbbbbbbbbbbuh<>bbbbbbbbbbbbbbbbbbbb} bBbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbbbbbbbbbbbkbbbbbbbbbbbbbbbbbbbbbbbbbbbÃbbbbbbbbbbbbbbbuh<>bbbbbbbbbbbbbbbbbbbb} secúndum verbum tuum in pace. according to thy word, in peace. (Epistle side): 2. Quia vidérunt óculi mei * salutáre tuum. (Epistle side): 2. Because my eyes have seen * thy salvation. 3. Quod parásti * ante fáciem ómnium populórum. 3. Which thou hast prepared * before the face of all peoples. 4. Lumen ad revelatiónem géntium, * et glóriam plebis 4. A light to the revelation of the Gentiles, * and the glory of tuæ Ísrael. thy people Israel. 5. (bow) Glória Patri, et Fílio, * et Spirítui Sancto. 5. (bow) Glory be to the Father, and to the Son, * and to the Holy Spirit. 6. (rise) Sicut erat in princípio, et nunc, et semper, * et in 6. (rise) As it was in the beginning, is now, and ever shall be, * saécula sæculórum. Amen. Repeat antiphon world without end. Amen. Repeat antiphon

COLLECT

V. Dóminus vobíscum. V. The Lord be with you. R. Et cum spíritu tuo. R. And with thy spirit. Oremus. Visita, quaésumus Dómine, habitatiónem istam, Let us pray. Visit, we beseech thee, O Lord, this et omnes insídias inimíci ab ea longe repélle: † Ángeli tui dwelling-place, and drive far from it all the deceits of sancti hábitent in ea, qui nos in pace custódiant; * et the enemy: † let thy holy Angels dwell herein to keep us benedíctio tua sit super nos semper. Per Dóminum in peace, * and may thy blessing be ever upon us. nostrum Jesum Christum Fílium tuum: † qui tecum vivit et Through Jesus Christ our Lord, thy Son, † who with regnat in unitáte Spíritus Sancti Deus, * per ómnia saécula thee in the unity of the Holy Spirit * lives and reigns sæculórum. God, world without end. R. Amen. R. Amen.

night prayer Sacred Music Colloquium 2012 n 31

V. Dóminus vobíscum. V. The Lord be with you. R. Et cum spíritu tuo. R. And with thy spirit. VbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbbhbbbbbbbbbhbbbbbbbbbbhbbbbbbbbbbbHUbbbbbbbbbbbbbjbbbbbbbbbbbbbbbbbbbbbbbbjbbbbbbbbbbbbbbbjbbbbbbbbbbb7xx^%

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

Bbbbbbbbbbbbbbbbbbbbbbbfbbbbbbbbbgbbbbbbbbbbbfbbbbbbbbbbbbbgbbbbbbbbbbbhz.bbbbbbbbbbb\bbbjbbbbbbbbbbbbbbhbbbbbbbbbbb≥gbbbbbbbbbbbbbbbb\zzjbbbbbbbbbbbbbhbbbbbbbbbbbbgbbbbbbbbbbf,bbbbbbbbbbbbbbbbbbbbbbbbbb{bb Regi-na cæ-li, læ-ta-re, al-le-lu-ia; Hail, holy Queen, mother

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V. Divinum auxilium maneat semper nobiscum. R. Amen. Lord’s Prayer, Hail Mary, Apostles’ Creed, silently

32 n Sacred Music Colloquium 2012 night Prayer Tuesday

5:15 p.m. June 26

Votive Mass of St. John the Baptist Ordinary Form

Tuesday, june 26 Sacred Music Colloquium 2012 n 33 34 n Sacred Music Colloquium 2012 Tuesday, june 26 40 n Sacred Music Colloquium 2012 Tuesday, June 26 50 n Sacred MuSic colloquiuM 2012 TueSday, June 14 Tuesday, June 26 Sacred Music Colloquium 2012 n 41 Hear The Voice and Prayer Tallis                     Hear the voice and prayer of thy ser  vants, of           Hear                         Hear the voice and prayer of thy ser  vants, of thy ser vants,               Hear the voice and prayer

                thy ser  vants, that they make               the voice and prayer of thy ser  vants, that they make                  that they make be  fore               of thy ser  vants, of thy ser  vants that they make

              be  fore thee on this day,                    be  fore thee this day, that thine eyes may be o  pen to  ward this                  thee this day, that thine eyes may be o  pen               be  fore thee this day, that thine

42 n Sacred Music Colloquium 2012 Tuesday, June 26                      that thine eyes may be o  pen to  ward this house night and                  house night and day, this house night and              to ward this house night and day, night and                 eyes may be o  pen to  ward this house night and day,

                  day, ev er to  ward this place, ev er to  ward this place, of               day, ev er toward this place, ev er toward this place,                    day, ev er to  ward this place, ev er to  ward this place, of which thou hast                 ev er to  ward this place, ev er to  ward this place,

                          whichthou hast said, "My name shall be there, my name shall be there, my name shall                  of which thou hast said, "My name shall be there, my name                    said, "My name shall be there." And when thouhear'st,have mer  cy                      of whichthou hast said, "My name shall be there, my name shall be there, my name

Tuesday, June 26 Sacred Music Colloquium 2012 n 43                      be there." And when thouhear'st,have mer y on                     shall be there."And when thou hear'st,have mer  cy on them, on                      on them, and when thouhear'st,have mer  cy on                    shall be there, and when thouhear'st have mer  cy on                         them, and when thou hear'st,have mer    cy on           them, and when thou  hearst, and when thou               them, and when thouhear'st,have mer  cy on                 them, and when thou hear'st,have mer  cy on                  them, and when thou hear'st, have mer cy up  on them.

             hear'st, have mer  cy on them.                  them, and when thou hear'st have mer cy on them.                      them, and when thou hear'st have mer  cy on them.

44 n Sacred Music Colloquium 2012 Tuesday, June 26 46 n Sacred Music Colloquium 2012 Tuesday, June 26 48 n Sacred Music Colloquium 2012 Tuesday, June 26 Tuesday, June 26 Sacred Music Colloquium 2012 n 49 50 n Sacred Music Colloquium 2012 Tuesday, June 26 Tuesday, June 26 Sacred Music Colloquium 2012 n 51 Come, Holy Ghost ORLANDO GIBBONS (1583-1625)

Soprano ° c & b ˙ œ œ œ œ œ œ ˙ Œ œ œ œ ˙ Come, Ho - ly Ghost, the Ma - ker, come; Take in the souls

Alto bc & j œ œ œ œ ˙ œ œ œ œ œ Come,˙ Hoœ ™ - lyœ Ghost, the Ma - ker, come; Take˙ in the soulsœ of Tenor c œ œ & b œ œ ™ œ œ œ œ œ œ œ œ œ œ ™ œ œ œ œ Come, Ho - ly Ghost, the Ma - ker, come; Take in theJ souls of thine, of Bass ? c œ œ b œ œ œ œ Œ œ ˙ ¢ Come,˙ Hoœ - lyœ Ghost, the Ma - ker, come;˙ Take in the souls

5 S. ° ˙ & b œ ˙ nœ ˙ Œ œ œ œ œ ˙ œ of thine thy place; ou whom our hearts had be - ing

A. b ™ j j j & œ œ ˙ ˙ ˙ œ ™ bœ ˙ nœ œ ™ œ thine thy place; ou whom our hearts had beœ - ing T. œ œ & b œ ˙ Œ œ œ œ œ œ ˙ ˙ œ œ œ thine thy place; ou whom our hearts had be - ing

B. ˙ ? b œ œ ˙ Œ œ œ œ ˙ œ œ œ œ ¢ of thine thy place; ou whom our hearts had be - ing

9 S. ° & b ˙ Œ œ œ œ ˙ œ œ ˙ ˙ Œ œ from, Oh, fill them with thy heav'n - ly grace. ou

A. & b ˙ œ œ œ ˙ œ ˙ œ ˙ œ from, Oh, fill them with thyœ heav'n - ly grace. œou art T. œ & b œ œ ˙ ˙ œ œ œ ™ œ œ ˙ Œ œ from, Oh, fill them with thy hea - venJ - ly grace. ou B. ? œ b ˙ Œ œ œ ˙ œ œ ˙ Œ ¢ from, Oh, fill themœ with thy heav'n - ly grace.˙ ou

© Ronald MacDonald 2011 e: [email protected] w: http://www.rmacd.com/ 117901 52 n Sacred Music Colloquium 2012 Tuesday, June 26 2 13 S. ° b œ ˙ ˙ ˙ Œ & œ œ nœ œ œ œ ˙ art that com - fort from a - bove, e high - est doth

A. & b œ œ j œ bœ ˙ œ ˙ œ ™ œ ˙ œ œ œ that com - fort from a - bove, e high - - estœ doth

T. j b œ œ ™ Œ j & œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ ˙ art that com - fort from a - bove, e high - -™ est doth

B. ? œ ˙ b œ ˙ œ œ ˙ ˙ Œ œ œ œ ¢ art that com - fort from a - bove, e high - est doth

17 S. ° ˙ & b ˙ œ œ ˙ Œ œ œ œ œ ˙ nœ by gift im - part; ou spring of life, a fire of

A. b & œ œ j œ œ œ bœ œ nœ œ œ œ ˙ œ by giftœ ™ imœ - part;˙ œou spring of life, a fire of T. œ ™ j & b œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ ˙ by gift im - part; ou spring of life a fire of love,

B. ? ˙ œ œ b ˙ œ œ Œ œ ˙ œ œ ˙ ¢ by gift im - part; ou spring of life, a fire of

21 S. ° ˙ ˙ & b Œ œ œ œ ˙ œ œ w love, And the an - oint - ing spi - rit art.

A. b j j j & œ ™ œ œ œ œ œ œ œ ™ œ œ ˙ œ w love, And the an - oint™ - - - ing spi - rit art.

T. b Œ ˙ œ œ ™ œ & œ œ œ œ œ œ œ œ w And the an - oint - - - ing spi - ritJ art.

B. ? b ˙ Œ œ œ œ ˙ ˙ œ œ ¢ love, And the an - oint - ing spi - rit art.w

Gibbons, O/Come, Holy Ghost

Tuesday, June 26 Sacred Music Colloquium 2012 n 53 54 n Sacred Music Colloquium 2012 Tuesday, June 26 So that these your servants can, with all their voice, sing your wonderful feats, clean the blemish of our spotted lips. O St. John!

An angel came from the heavens to announce to your father the greatness of your birth, dictating to him the name that you should take and discovering him the course of your destination.

He (Zacarias) doubted of these divine promises and was deprived of the use of speech; but when you were born, he recovered the voice that he had lost.

Still locked in your mother’s breast, you felt the King’s presence housed in the vestal womb. And prophet, before being born, you revealed this mystery to your parents.

Glory be to the Father and to the engendered Son; glory similar to the Holy Spirit that is knot of both, for every century. Amen.

Tuesday, June 26 Sacred Music Colloquium 2012 n 55 56 n Sacred Music Colloquium 2012 Wednesday

5:15 p.m. June 27

Requiem for Deceased Members Extraordinary Form

Wednesday, June 27 Sacred Music Colloquium 2012 n 57 58 n Sacred Music Colloquium 2012 Wednesday, June 27 Alternatim, men begin

Wednesday, June 27 Sacred Music Colloquium 2012 n 59 60 n Sacred Music Colloquium 2012 Wednesday, June 27 Alternatim, men begin

Wednesday, June 27 Sacred Music Colloquium 2012 n 61 62 n Sacred Music Colloquium 2012 Wednesday, June 27 Wednesday, June 27 Sacred Music Colloquium 2012 n 63 5. Offertorium de la Missa pro defunctis

Liber primus missarum 1566, Missarum liber secundus 1582 Francisco Guerrero (1528-1599) Do mi ne Ie su Chri ste rex glo ri æ

Superius Li be ra a ni mas o

Altus 8 Li be ra a ni mas o mni um

Tenor 8 Li be ra a ni mas o

Bassus Li be ra a ni mas o mni um ﬁ

8 mni um ﬁ de li um de fun cto rum

8 ﬁ de li um de fun cto rum

8 mni um ﬁ de li um de fun cto rum

de li um, ﬁ de li um de fun cto rum de fun cto rum de

16 de pœ nis in fer ni et de pro 8 de pœ nis in fer ni et de pro fun do et de pro

8 de pœ nis in fer ni et de pro fun do la pœ nis in fer ni, de pœ nis in fer ni, et de pro fun do la cu, et de pro fun do Edited by Nancho Alvarez 

64 n Sacred Music Colloquium 2012 Wednesday, June 27 2 Missa pro defunctis: Offertorium Guerrero

24 fun do la cu: li be ra e as de 8 fun do la cu: li be ra e as de o 8 cu: li be ra e as de o re le o

la cu: li be ra e as de o re le o nis

31 o re le o nis

8 re, de o re le o nis ne ab sor be at

8 nis de o re le o nis de o re le o nis

de o re le o nis de o re le o nis ne ab

39 ne ab sor be at e as tar ta rus:

8 e as tar ta rus, tar ta rus: ne

8 ne ab sor be at e as tar ta rus: ne ca

sor be at e as tar ta rus: ne ca

Wednesday, June 27 Sacred Music Colloquium 2012 n 65 Guerrero Missa pro defunctis: Offertorium 3

47 ne ca dant in ob scu rum: sed

8 ca dant in ob scu rum: sed si gni fer

8 dant in ob scu rum, in ob scu rum: sed si

dant in ob scu rum, in ob scu rum: sed si gni

55 si gni fer San ctus Mi cha el

8 sed si gni fer San ctus Mi cha el re pre sen

8 gni fer San ctus Mi cha el

fer Sanctus Mi cha el re pre

62 re pre sen tet e as in lu

8 tet e as in lu cem San ctam

8 re pre sen tet e as in lu cem San ctam

sen tet e as in lu cem San ctam, in lu cem San

66 n Sacred Music Colloquium 2012 Wednesday, June 27 4 Missa pro defunctis: Offertorium Guerrero

69 cem San ctam: Quam o lim A bra 8 in lu cem San ctam: Quam o lim A bra hæ pro 8 in lu cem San ctam: Quam o lim A bra

ctam: Quam o lim, quam o lim A

77 hæ pro mi si sti, et se mi 8 mi si sti et se mi ni e ius et

8 hæ pro mi si sti et se mi ni e

bra hæ pro mi si sti, et se mi ni e ius, et se mi ni e

84 ni e ius, et se mi ni e ius. 8 se mi ni e ius et se mi ni e ius.

8 ius et se mi ni e ius.

ius et se mi ni e ius, et se mi ni e ius. Music engraving by LilyPond 2.12.2—www.lilypond.org

Wednesday, June 27 Sacred Music Colloquium 2012 n 67 68 n Sacred Music Colloquium 2012 Wednesday, June 27 Wednesday, June 27 Sacred Music Colloquium 2012 n 69 70 n Sacred Music Colloquium 2012 Wednesday, June 27 Wednesday, June 27 Sacred Music Colloquium 2012 n 71 72 n Sacred Music Colloquium 2012 Thursday

5:15 p.m. June 28

Memorial of St. Irenaeus, Bishop and Martyr Ordinary Form

Thursday, June 28 Sacred Music Colloquium 2012 n 73 74 n Sacred Music Colloquium 2012 Thursday, June 28 Alternatim, women begin

Thursday, June 28 Sacred Music Colloquium 2012 n 75 76 n Sacred Music Colloquium 2012 Thursday, June 28 Thursday, June 28 Sacred Music Colloquium 2012 n 77 78 n Sacred Music Colloquium 2012 Thursday, June 28 Thursday, June 28 Sacred Music Colloquium 2012 n 79     BzbsvvvvzbdvvzbfvvvgvvvfvvvvvvvvvzzbfvvfvvvêeËavbz[bzbvfvvbfvvzdvvbsvvvzbdvvvfbvvvìtÍÌszzbbó   BvzbdvvbzSEvvvvzbavvzzbavvvabnvvb{vvdvvvvvvbavvzbsvvvzzfvvzbrdvvbsvvzzFTvbvgb,vvbz[vvzfvvbvDRvvzbsvvbzwazbò  Bvzsvvzbfvvvzdtfzfvvzzrdbm,vz}zöcvbbbxxxxxxxxvv 

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                        

82 n Sacred Music Colloquium 2012 Thursday, June 28 O sacred banquet, in which Christ is received, O Sacrum Convivium the memory of His Passion is renewed, the mind is filled with grace, and a pledge of future glory given to us. Alleluia. - Thomas Aquinas Croce q=100 SOPRANO                 O sa - crum con - vi --- vi - ALTO          O sa - crum con -vi -- vi TENOR                 O sa - crum con vi --- vi - BASS               O sa -crum con --vi vi - um, 5                          um, in quo Chri - stus, in quo Chri -stus su --mi                 um. in quo Chri-stus su -mi - tur, in quo                         um, in quo Chri -stus su -mi - tur, in quo Chri -                     in quo Chri-stus su -mi - tur in quo Chri-stus su - mi- 10                   tur, in quo Chri - stus su - -mi - tur re -                     Chri -stus su -mi - tur, in quo Chri - - -stus su - mi -                 -stus su -mi - tur, in quo Chri -stus su --mi            tur in quo Chri - stus su --mi

Thursday, June 28 Sacred Music Colloquium 2012 n 83 2 14                      co -li - tur me -mo - ri - a pas -si - o - nis e -                      tur, re -co - li - tur me -mo - ri -  a pas -si - o - nis e --                      tur, pas -si - o - nis e - jus, pas -si - o -                    tur, re -co - li - tur me -mo - ri - a pas -si - o - nis e -

19                          jus, pas -si - o - nis e -- jus, mens,  mens                     jus, pas -si - o - nis e -- jus, mens  im -ple - tur,                       -nis e -jus, pas -si - o - nis e - jus; mens im -                         jus, pas -si - o -- nis e - jus; mens im -

24                       im ple -tur gra -ti - a, et fu - tu -                im -ple - tur gra -ti -  a, et   fu -                           ple - tur gra -ti - a, et fu - tu -rae, et                        ple - tur gra -ti - a, et fu - tu -

84 n Sacred Music Colloquium 2012 Thursday, June 28 3 28                     - -rae glo -ri - ae, no bis pi - gnus da                 tu -  rae glo -ri - ae, no bis pi -gnus da -                      fu -tu - rae glo -ri - ae, no bis pi -gnus da -                            - rae glo -ri - ae, no - - -bis pi-gnus da - 33                    tur. Al -le - lu - ia. Al - - - - -le -- lu                 tur, Al -le - lu - ia. Al - - -le -- lu                  tur. Al -le - lu - ia Al ----le                 tur. Al -le - lu - ia. Al ------le 37                     - ia, Al --- le - lu -ia, Al -le -- lu                 - ia, Al - -le - lu -ia, Al -le -- lu                    lu - ia, Al - - - -le - lu - ia                lu - ia. Al - - -le - lu - ia.

Thursday, June 28 Sacred Music Colloquium 2012 n 85 4

41                   ia. Al ---- le - lu -- ia,                  ia. Al - - -le - lu -- ia,                   Al -le - lu - ia Al - - -le - lu -ia, Al -                  Al -le - lu - ia. Al ---- le - lu - ia.

45                 Al - - -le - lu - ia.

           Al - le -lu - ia. Al - -le -  lu -   ia.                       - - -le- lu - ia Al -le - lu - ia.                      Al - -le - lu - ia. Al - -le - lu - ia.

86 n Sacred Music Colloquium 2012 Thursday, June 28 Friday

5:15 p.m. June 29

Solemnity of Sts. Peter and Paul, Apostles Extraordinary Form

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   BzbgvvbÝdvvbvfvvzbsvvbbÝdxzgvvzbhb.vz}v\vHUcbàhczbhcvzgvvzÞfvvbzgvvvbgb,vvzb{vvDRzbzõ   BvvgvvzbßgcvvbbgvvzbÞfvvzhczgb,vvzzgb,vvv[vzzÝdvvbbfvvzßgvvzbgzzbbvzàhczbzbgcvbfvvzesbNmvzz[bzb\vHUvbvbàhvbbbbbõ  BvzgvbvbÞfvvzbhvvztfbbvzgb,vz}vvÝdvvbbzfvbvzzgzbvzbßgxzzgvvzbfzzvzzzdfdzdzbb[vsvvzbÝdxvvzgbvvzbhb.vbbb{bö  Bzz\vHUvvhzzvzàhcczhvzzàhvvbgvvzzbÞfvvzbhvvztfbvvgb,vzb}zbzvÝdvvzfcvzbgvzbzzbÝdvbvzzgvvzhb.vzb[bb\vHUvvzzzàhbbbbbö  BvzhcvbgzbzzzzÞfvvbzbhvvztfbvzzgb,v}vbzbgbvzbzÞfcvvzhczbgb,vvvgb,vzb[bvgvvzzzÞfcbvbhvzzzbßgvvbzfbbbvvdfdzdbb[bò  BvbzbsvzzbÝdcbvvgvvzhb.cvzzàhcbzbgvzzbÞfbbvvzzgvvgb,vz}vzbÝdvvbfbvvgb,cvvzbzàhczbzgvzbzzdbmvvz[vvbÞfvvvbsbbbbó    BvzzÝdvvzzfvvbgvzzzbÝdcvvzgvvbhb.vzzb{z\zzbHUcvvzzàhczzhczbzbgvvzÞfvbbvbhvvzztfvbvgb,vvzb}czbÝdbbbzbzzzzbbvfbbbbõ  Bzzgbczbàhcvbgvvzzfbvvzdbmvv[vbsczvzÝdczfczzgczÝdcvzbfvvbgvvzgb,vvzb[bvvßgvvzgcbÞfczhbbbbbbbõ  Bzzgb,vvzzgb,vb}bvzsvvzbÝdcfcbßgvvzzfvvzbdbmcbzzzdcvzÞfbvvbsbzzvzÝdvvzzbgcvbbhb.vbbb]b\bbbHUcvbbzzàhvvbgbbvzÞfbö  Bzbzbhvvzbtfzbzbbzzgb,vzbbz{z\vHUcvzbhcÞfbbvvzhvvvtfvvbbgb,vv}vbbvzzÝdvbvfvvgvvzzÝdvvzbbfvbbvdvvbÜsxzbdbbbbbbõ  Bzzbgzbvzzzhb.vzzbb{bb\vHUcvvbàhzzzzzzzbhvvbgbcÞfbvvbgvvzbgb,vzbbb{bb\vHUzzzzzzbzàhczbgczÞfvvbhzzzzzzztfbvzbzgb,vzzb}vbzbzsvbbó  BbbzbÝdbvvzbfvvzzgvbbbzbÝdcbbfvzzbbsvvbÝdvbvzgbzzvzhb.vzzb{b\bzzHUzbvzbàhvzbzzbvgbvvvzzzzzzvzzbÞfvbbvzbgbvvzbgb,vb}zbbbzbÝdvbvfvzzbvgbbbbbbbô  BbbzbbÞfvbbvdcvbgbvvhb.vv{z\vHUvvzzzàhvbbbvzhczvàhvvzzgvvzbÞfcvvzbgvvzgb,vz}bvzbDRbbvvßgvvzgbvvzßgcvvzgvbbbõ  Bvzbßgvvzzgcßgcvvhxbßgvvbfvzzzdfdzdvb[vsvzzbzzÝdvzzzzgvvzhb.vzzb\vHUbbvzbhvvzzÞfcvzbbhzzzzzzbtfvvgb,vbbbb{bó  BvvÝdvvzbfcbbzbgzzzzzzzbbbßgczbgcÞfvbbvhvbvzzgb,czgb,vv}vvbÝdvbbvzfcvvzzbßgvvbgvvzbßgcvvzzgcvzzhb.vvbõ  Friday, June 29 BzbbzzßgvvzzfzbvvesbmNvz[z\vbHUvvzbzzàhzbvzzgbvvÞfvvzgzzzzzzzzgb,bc{zzzzzzzzbÝdvvbfcvzgvvbbßgvzvzgvvgvvbgzzzzzzbvÞfvvvvzhbbbbõSacred Music Colloquium 2012 n 117    BvzzÝdvvzzfvvbgvzzzbÝdcvvzgvvbhb.vzzb{z\zzbHUcvvzzàhczzhczbzbgvvzÞfvbbvbhvvzztfvbvgb,vvzb}czbÝdbbbzbzzzzbbvfbbbbõ  Bzzgbczbàhcvbgvvzzfbvvzdbmvv[vbsczvzÝdczfczzgczÝdcvzbfvvbgvvzgb,vvzb[bvvßgvvzgcbÞfczhbbbbbbbõ  Bzzgb,vvzzgb,vb}bvzsvvzbÝdcfcbßgvvzzfvvzbdbmcbzzzdcvzÞfbvvbsbzzvzÝdvvzzbgcvbbhb.vbbb]b\bbbHUcvbbzzàhvvbgbbvzÞfbö  Bzbzbhvvzbtfzbzbbzzgb,vzbbz{z\vHUcvzbhcÞfbbvvzhvvvtfvvbbgb,vv}vbbvzzÝdvbvfvvgvvzzÝdvvzbbfvbbvdvvbÜsxzbdbbbbbbõ  Bzzbgzbvzzzhb.vzzbb{bb\vHUcvvbàhzzzzzzzbhvvbgbcÞfbvvbgvvzbgb,vzbbb{bb\vHUzzzzzzbzàhczbgczÞfvvbhzzzzzzztfbvzbzgb,vzzb}vbzbzsvbbó  BbbzbÝdbvvzbfvvzzgvbbbzbÝdcbbfvzzbbsvvbÝdvbvzgbzzvzhb.vzzb{b\bzzHUzbvzbàhvzbzzbvgbvvvzzzzzzvzzbÞfvbbvzbgbvvzbgb,vb}zbbbzbÝdvbvfvzzbvgbbbbbbbô  BbbzbbÞfvbbvdcvbgbvvhb.vv{z\vHUvvzzzàhvbbbvzhczvàhvvzzgvvzbÞfcvvzbgvvzgb,vz}bvzbDRbbvvßgvvzgbvvzßgcvvzgvbbbõ  Bvzbßgvvzzgcßgcvvhxbßgvvbfvzzzdfdzdvb[vsvzzbzzÝdvzzzzgvvzhb.vzzb\vHUbbvzbhvvzzÞfcvzbbhzzzzzzbtfvvgb,vbbbb{bó  BvvÝdvvzbfcbbzbgzzzzzzzbbbßgczbgcÞfvbbvhvbvzzgb,czgb,vv}vvbÝdvbbvzfcvvzzbßgvvbgvvzbßgcvvzzgcvzzhb.vvbõ 

BzbbzzßgvvzzfzbvvesbmNvz[z\vbHUvvzbzzàhzbvzzgbvvÞfvvzgzzzzzzzzgb,bc{zzzzzzzzbÝdvvbfcvzgvvbbßgvzvzgvvgvvbgzzzzzzbvÞfvvvvzhbbbbõ   Bvgb,vvvbgb,vvb}vvzzÝdzvvzzfcvvzzgvvzzßgvbvzhczzßgvvbfbbvvdbmvzb[zvfvvzzÝdvbvzbsbbvvzzbÝdvvzgvvzzbhb.vzzb[bbb\vHUbbbbö  BbzbhbbbczzàhvvbgbvzzbÞfvvbgvvzgb,vvzb{vbvzÝdvvzbfvzzbzzßgvbzzzbgvvzbbgczbbvzÞfcvzbzbhbczzgb,vvbzbgb,vbb}vbbzzDRvvbvgvbbõ  Bvgb,bbbvvbbbbzzzgbcvbfb,cvvbhcbßgvvbfvvzesbNmzzb[bb\bbbHUvbbbvzhcbhvvzbàhbvvbhvvbbgczzzÞfczbzhvbvtfvbzbgb,zz}zó  BzbbvDRvzbbbbzßgvvzbgvbzzzbßgvbbbbvzzgvbvzÞfcvvzhcbgbczdbmvzbbzb[bbbbvbfcbbzbÝdvbvzsvbbvÝdbvvbbgbbvbbzbzbhcbvvzÞfcbhvzbõ  Bzvzbgb,vbbbbbbzzgb,zzbbbbb}bzzzbbzzÝdvzbbzbbzbfcvzzgbvvzdbmczzbfvvzbÝdvvzbbsbbbvzzÝdbbvzzbgchbvvvvvzzbbÞfvvzzhvzvbgb,vvzzzgb,zbvbbb}zbó  BvzzDRbzbvvzbbgbzzzzbbbbbßgvbzzzzvvzzgvvvbtfvzbzzÝdvbbz\bbbSY7vvzbhzzzzzbbhb.zzvz}vzvb6z%$vGYz%$#zbzzzzzSEbNmvzb}xxcvãØ× 



   Vvbbhvvbfvvbsvz|vgvvbbfvvvvvvz4z#@vbvsbmvzzz}vb|vFTzzvvÞfvbbbvvzbhvvvzzbbÞfvvbsvzbzzbdvvvbsbmzbbzzbzz{zò   VbzzbbsbbvvzzÞfv|vgcvbvbàhvbbvhvbvbàhvvbvbbjvvbbbhb.vvz{zvzzàhbvvbhbvvbbájzvvjbvbvlvvvvÐvzbbvjvbbvbhb.vvbb{bzbbzbbàhvbbô  118 n Sacred MusicVvbfvbvbbbbÜsvb|vgvzzbbbÌ Colloquium 2012vvbdvvbsbmvzz}zbbzbbbàhvbbvbhvvzbbÞfvbvbfcvvvzbÜsvvbbsbvvdbmvvvvvfzv|vßgvvbvvvvvvbdvbò Friday, June 29  Friday, June 29 Sacred Music Colloquium 2012 n 119 120 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 121 122 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 123 124 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 125 126 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 127 128 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 129 130 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 131 132 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 133 134 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 135 136 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 137 138 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 139 140 n Sacred Music Colloquium 2012 Friday, June 29     BzbfvvvbSRvvvvbbfgfzfvvasabnvzzzzb{zbbvzsvvvzbfzFTvvbfvvvvfvvvvvvzìfìgìfzvvbfb,vvbv{vvvfvzzbfßGYvzbö   BvbíygvvzgvbvFTz$z@mvv[vzbbsvvvvfzFTvvbfvvFTzygzíygvzzzzFT6z%Þ$zgzvzzbtfbM

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Friday, June 29 Sacred Music Colloquium 2012 n 141 BzzzbbzFTvbzzvbztfbvzvGYvzbvzbbhzzvzzzzbvzzzzzzzhzbbvvzbgzbzzzzbb\vjbbvzzzzbvzzzzhvbzzzzgbvbvfb,vvzzbb]bbbvzzbzhvzzbvzHIvbbzzbbgvvzzzÞfvvzgvzzbô  BvbzrÌsbbzbbvÞfbvbzzbvbbgbzvvfb,vvz}zôxcvbbxxxxvbbbbbxxxvbbb      BzbfvvvbSRvvvvbbfgfzfvvasabnvzzzzb{zbbvzsvvvzbfzFTvvbfvvvvfvvvvvvzìfìgìfzvvbfb,vvbv{vvvfvzzbfßGYvzbö   BvbíygvvzgvbvFTz$z@mvv[vzbbsvvvvfzFTvvbfvvFTzygzíygvzzzzFT6z%Þ$zgzvzzbtfbM

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                                                      

Friday, June 29 Sacred Music Colloquium 2012 n 143 Quem dicunt homines

From Sir John Hawkins' Motet History of Music Adrian Willaert (c1490-1562)            Quem di - cunt                          Quem di -cunt ho - mi - nes es - se fi -         

5                ho - mi - nes es - se fi - li - um ho - mi - nis,              Quem di - cunt ho - mi - nes  es - se fi -                      li - um ho - - - mi - nes, es - se fi - li - um         Quem di - cunt

9                 es - se fi - li - um ho - mi - nis res -            li - um ho - - - - -  mi - nis res -                  ho - mi - nis ho - - - - - mi - nis                ho - mi - nes es - se fi - li - um ho - mi - nis

144 n Sacred Music Colloquium 2012 Friday, June 29 2 13               pon - dens Pe - - trus dix - -  - - -                   pon - dens Pe - trus dix - - - - it:                re -spon -dens Pe ------trus dix -              res - pon - dens Pe - - trus dix - - - it:

17         - it: "Tu es

             "Tu - es Christ - us Fi - - li - us De -               it: "Tu - es Christ - us Fi - li -                 "Tu es Christ - us Fi - li - us De - i vi - vi."

21                 Christ - us Fi - li - us De - i vi - - - vi."          - i vi - - vi." Et a - it     Je -  -                      us De - - - i - vi - vi." Et a - it         Et a - it

Friday, June 29 Sacred Music Colloquium 2012 n 145 3 25               Et a - it Je -  sus: "Be - a - tus         - -  -  -           sus: "Be - a - tus es                      Je - - - sus: "Be - a - tus es Si-mon Pe - tre, Pe-               Je - - - - sus: "Be -

30                 es, be - a - tus es Si - mon Pe - - tre

             Si - mon Pe - - - tre qui-                      ------tre                  a - tus es Si - - - mon Pe - tre

34              qui - a ca - ro et san - guis, san -            -           a ca - ro et san - - - - -                 qui - a ca - ro et san - guis         qui - a

146 n Sacred Music Colloquium 2012 Friday, June 29 4 38            - - - - guis                     - - - guis non re - ve - la - - - vit             non re - ve - la - vit ti - bi,                  ca - ro et san - guis non re - ve - la - -

42                  non re - ve - la  - - - - vit ti - bi             ti - bi sed Pa - ter me - us qui est in              non re - ve - la - vit ti - bi                - vit ti - bi sed Pa - ter me - us

46           sed Pa - ter me - us qui                    Cae - - - lis, in Cae - - lis,           sed Pa - ter me - us qui                qui est in Cae ------

Friday, June 29 Sacred Music Colloquium 2012 n 147 5 49           est in Cae -  - - - lis

          in Cae -  -  - - lis et E -               est in Cae - - - - - is             ------lis et

52           et E - go di - -  co - ti -          bi qui - go di - co  ti -                 et E - go di - co ti - - - -            E - go di - co ti - bi

56          bi qui - a tu                a tu es Pe ------ trus              -bi qui - a tu es Pe - trus                     qui - a tu es Pe ------

148 n Sacred Music Colloquium 2012 Friday, June 29 6 60                   es Pe - trus et su - per hanc Pe - - -          et su - per hanc Pe -     tram set su - per hanc                     et su - per hanc Pe - - - - -         - trus

64               - - - tram ae - di - fi -                ae - di - fi - ca - bo Pe - - - tram                  tram ae - di - fi - ca - bo ec -                et su - per hanc Pe - - tram

68             ca - - - - - -   - bo             ec - cle - si - am me  -  -  -  - - -            - cle - si - am me - am               ae - di - fi - ca - bo - ec - cle -

Friday, June 29 Sacred Music Colloquium 2012 n 149 7 72                    ec - cle - si - am me - - - am."           - - - am." Al -             ec - cle - - si - am me - am."               -si - am me - am." Al - le - lu - ia, Al -

76            Al - le lu - ia, Al - le - lu - ia, Al -

   le - lu - ia,     Al - le - lu - ia,                    Al - le - lu - ia, Al - le - lu - ia,             le - lu - ia, Al - le - lu - ia, Al -

79                  le - lu - ia, Al - le - lu - ia.               Al - le - lu - ia, Al - le - lu - - - ia.                 Al - le - lu - ia, Al - le - lu - ia.                      le - - lu - ia, Al - le - lu - ia, Al - le - lu - ia.

150 n Sacred Music Colloquium 2012 Friday, June 29 Verses 1–4: parts The Son Of Man Verse 5: unison NEWMAN Sir Richard Terry Kathleen Pluth

bb œ ˙ œ ˙ œ œ & b œ œ œ ˙ œ ˙ œ ˙ œœ ˙œ œ 1. The Son of Man has come to save The lost and 2. In Him the blind shall come to see, The deaf shall 3. So Pe - ter learned to call Him Christ, And Paul to 4. And on their mar - tyrs' wit - ness grows The Church of 5. The Son of Man has come to serve To seek and œ œ ˙ nœ ˙ ? œ œ ˙ œ œ œ œ ˙ œ bbb œ ˙ œ ˙ œ œ ˙ œ

b ˙ ˙ & b b œ ˙ œ œ ˙ œ œ œ ˙ œ ˙ œ ˙ œ bœ ˙ œ ˙ nœ dark of mind. All men and wom - en bound in un - der - stand, For Je - sus guides the err - ing call Him Lord; So Pe - ter died up - on a end - less days. Its rock no more de - nies the save the lost. Blest be the Lord whose saints re - ˙ œ œ bœ œ œ ? b œ˙ œ nœ œ œ œ œ œ œ œ b b ˙ ˙ œ œ œ œ b & b b ˙ œ œ œ . œ ˙ œ ˙ œ ˙. chains In Him their free - dom find. soul With His re - deem - ing hand. cross, And Paul be - neath a sword. Lord Its foe now leads His praise. veal The tri - umph of His Cross. œ œ œ ? b œ œ œ œ œ œ ˙. b b ˙ œ ˙ œ ˙ œ

Friday, June 29 Sacred Music Colloquium 2012 n 151 152 n Sacred Music Colloquium 2012 Friday, June 29 Friday, June 29 Sacred Music Colloquium 2012 n 153 154 n Sacred Music Colloquium 2012 Friday, June 29 Saturday

11 a.m. June 30

Votive Mass of the Blessed Virgin Mary Ordinary Form

Saturday, June 30 Sacred Music Colloquium 2012 n 155 156 n Sacred Music Colloquium 2012 Saturday, June 30 Alternatim, men begin

Saturday, June 30 Sacred Music Colloquium 2012 n 157 158 n Sacred Music Colloquium 2012 Saturday, June 30 Saturday, June 30 Sacred Music Colloquium 2012 n 159 160 n Sacred Music Colloquium 2012 Saturday, June 30 Saturday, June 30 Sacred Music Colloquium 2012 n 161 Ave Maria ... virgo serena (a 4)

Josquin des Prez (ca. 1440-1521) edited by Charles H. Giffen

Discantus w & C w w w w w › „ „ „ w. ˙ A- ve Ma --ri a, Gra -

Contratenor w V C „ „ w w w w w › „ „ A- ve Ma --ri a,

Tenor w w V C „ „ „ „ w w w w › A- ve Ma --ri a,

Bassus ? C „ „ „ „ „ „ w w w Aw - ve Ma -

& w w ˙ ˙ w ˙ œ œ w › „ „ „ ∑ w ti- a ple ----- na, Do -

V „ w. ˙ w w ˙. œ w ˙ œ œ w › „ „ Gra ---ti a ple ----- na,

V „ „ „ w. ˙ w w ˙ ˙ w ˙ œ œ w › Gra ---ti a ple ----- na,

? w w › „ „ „ w. ˙ w w. ˙ ri - a, Gra ---tiw a ple -

162 n Sacred Music Colloquium 2012 Saturday, June 30 2 Josquin: Ave Maria ... virgo serena, a 4 17 w w & ˙ ˙ w ˙. œ ˙ ˙ w ˙ œ œ w ˙ w „ „ --mi nus te ------˙ cum,w

w V „ ∑ w ˙ ˙ w w › „ › w w Do --mi nus te - cum, Vir --- go se - # w ˙. ˙ ˙ ˙ w V „ „ „ ∑ w ˙ ˙ w w ˙ œ Do --mi nus te ------cum,

? › „ „ „ „ ∑ w ˙ ˙ w w w na, Do --mi nus te -

25 w ˙ œ & › w w w w Ó œ w ˙ › ∑ w w w Vir - go se ----re na, se --re na. A - ve cu -

w ˙ ˙. œ œ ˙ ˙ w › w w V ˙. œ w ˙ ˙ œ œ œ w. ∑ w re ------na. A - ve cu -

˙. œ œ V „ › w w œ ˙ œ œ ˙ w › › „ Vir - go se ------re na.

? › „ „ › w w. ˙ › „ cum, Vir --- go sew --re na.

33 w ˙ ˙ œ œ w ˙ › w & „ „ „ „ ∑ jus con----- cep ti o, So -

w ˙ ˙ ˙ ˙ w › V ∑ w w. ˙ œ œ w ˙ › ∑ w jus con--- cep ti o, con ------cep ti o, Sol -

w w. ˙ œ œ w ˙ › w V „ „ ∑ w w ∑ A - ve cu - jus con ---cep ti o, So -

˙ ˙ ? „ „ ∑ w w w w ˙ ˙ w › ∑ w A - ve cu - jus con--- cep ti o, So - Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library (http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

Saturday, June 30 Sacred Music Colloquium 2012 n 163 Josquin: Ave Maria ... virgo serena, a 4 3 41 w w w. ˙ & w w w w w w w w w w lem- ni plena gau-- di o, Coe ---le sti a, ter ---re stri

œ ˙ w › ˙ ˙ w w ˙ ˙ w V w w w. œ ˙ w lem- ni ple ---- na gau-- di o, Coe ---le sti a,

w w w. ˙ w w ˙ ˙ w ˙ V w ˙ ˙ ˙ w w ˙ ˙ lem- ni plena gau-- di o, Coe--- le sti a, ter--- re stri a, b ? ˙. ˙ w. w w w. ˙ w w w w œ ˙ ˙ ˙ w ˙ lem- ni plena gau-- di o, Coe ---le sti a, ter ---re stri

48 ˙. ˙ ˙ œ œ ˙ œ & w w w w œ œ œ ˙ œ w ˙ › ∑ w a, No - va re - plet lae ------ti ti a. A - N . œ ˙ ˙ ˙. œ œ w V ˙ w Ó ˙ ˙ ˙. œ ˙ ˙ ˙. œ ˙ ˙ ˙ w ˙ œ ∑ ter--- re stri a, No - va re - plet lae ---ti ti a, lae--- ti ti a.

˙ ˙ ˙ w ˙ ˙ ˙. œ ˙ ˙ ˙. œ ˙ ˙ ˙ V w w › › No- va replet lae ------ti ti a. b b w. ˙ w w ˙. œ ˙ ˙ ˙. œ ˙ ˙ ˙ w ? ˙ › › a, No - va re - plet lae ------ti ti a.

55 w & w. ˙ w w. œ œ w ˙ ˙ œ œ w ˙ › „ „ ve cu - jus na ---ti vi tas, na----- ti vi tas,

w ˙ ˙ w w w ˙ œ w V w œ w ˙ ˙ w ∑ „ „ A- ve cujus na------ti vi tas,

w V „ „ „ „ ∑ w w. ˙ w w. œ œ No - stra fu - it so ---lem ni

? „ „ „ „ „ w w ˙ ˙ w w w No- stra fu--- it so lem Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library (http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

164 n Sacred Music Colloquium 2012 Saturday, June 30 4 Josquin: Ave Maria ... virgo serena, a 4 63 w & „ ∑ w w w w ˙. œ w › „ „ Ut lu-- ci fer lux o-- ri ens,

w w w w w ˙. œ V „ „ „ ∑ w ˙. œ ˙ ˙ Ut lu-- ci fer lux o-- ri ens, Ve -

w V w ˙ ˙ œ œ w ˙ › „ ∑ w w w w ˙. œ w tas, so----- lem ni tas, Ut lu-- ci fer lux o-- ri

? w w w ˙ œ œ w ˙ ˙ w › „ „ „ ∑ ------ni tas, Ut lu-- ci

71 w ˙ œ ˙ & ∑ w w w ˙ œ w ˙ œ œ w œ œ w ˙ w ∑ Ve - rum so - lem prae------ve ni ens.

œ ˙ œ w w V œ w œ w œ œ w w › „ „ - rum so - lem prae ------ve ni ens.

w w w w ˙ ˙ ˙. œ w ˙ ˙ V w Ó œ œ ˙ ˙ w › ens, Ve - rum so - lem prae ------ve ni ens.

w w w w w ? w ˙. œ w w w w w › fer lux o-- ri ens, Ve - rum so - lem prae ---ve ni ens.

78 w & w ˙ ˙ ˙ ˙ ˙ ˙ w › „ „ w ˙ ˙ w ˙ ˙ A----- ve pi a hu mi li tas, Cu----- jus an nun ti a # w ˙ ˙ œ œ w ˙ › ˙. œ ˙ ˙ ˙ ˙ V w ˙ ˙ „ „ w A------ve pi a hu mi li tas, Cu----- jus an nun ti a

w V „ „ „ w ˙ ˙ ˙ ˙ ˙ ˙ w › „ Si----- ne vi ro foe cun di tas, # ˙ œ ? „ „ „ w ˙ ˙ w ˙ œ w ˙ › „ Si------ne vi ro foe cun di tas, Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library (http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

Saturday, June 30 Sacred Music Colloquium 2012 n 165 Josquin: Ave Maria ... virgo serena, a 4 5 86 3 & ˙ ˙ w Ó w „ „ „ „ „ 1 ---ti o,w (o)˙ ˙ œ œ

œ œ w w. w V ˙ œ œ w „ „ „ „ „ 31 ---ti o,

w w w w . ˙ œ V „ „ ∑ w ˙ œ ˙ œ w ˙ › 31 No - stra fu - it sal ------va ti o.

? w. ˙ ˙ ˙ ˙ w 3 „ „ ∑ w œ œ ˙ œ œ ˙ ˙ w › 1 No - stra fu - it sal -----va ti o.

& 31 w w w › w › w › ∑ w w w › w A- ve ve - ra vir ---gi ni tas, Im---- ma cu la ta

w w w w. ˙ w w w w. ˙ V 31 ˙ ˙ › w › ∑ ˙ ˙ A- ve ve - ra vir ---gi ni tas, Im---- ma cu la ta

› w V 31 ∑ w w w › w › ∑ w w w › A- ve vera vir--- gi ni tas, Im---- ma cu la

w w w › w w w w ? 31 › w › ∑ › w A- ve ve - ra vir ---gi ni tas, Im---- ma cu la ta

100 w. & › w › w › w › w ˙ ˙ ˙ › w ca-- sti tas, Cu - jus pu -----ri fi ca ti o No -

w › w › w › w › w V › w › ca sti - tas, Cu - jus pu -----ri fi ca ti o No -

w › w › w › w w. ˙ ˙ ˙ V › w › ta ca --sti tas, Cu- jus pu------ri fi ca ti o

w › w › w › w ? › w › › w ca-- sti tas, Cu - jus pu -----ri fi ca ti o No - Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library (http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

166 n Sacred Music Colloquium 2012 Saturday, June 30 6 Josquin: Ave Maria ... virgo serena, a 4 106 w. & › w w ˙ › w C › „ › w w stra fu - it pur - ga-- ti o. A - ve prae -

w. ˙ ˙ ˙ w w ˙ w w w V w w w w › C œ œ w ∑ stra fu - it pur------ga ti o. A - ve prae -

› w w w w V w › C › › „ „ No- stra fuit pur -----ga ti o.

› w w w ? w w › C › › „ „ stra fu - it pur -----ga ti o.

113 w. & œ œ w ˙ ˙ ˙ œ œ w › „ „ › cla ---- ra om --ni bus An -

˙ w w V œ œ › ∑ w ˙ w ˙ œ œ œ œ w „ ∑ cla --- ra om ----ni bus An -

w. V „ › w w œ œ w ˙ ˙ ˙ œ œ w › A --- ve prae -----cla ra om ---ni bus # # # w w w w › ? „ ∑ w w w . œ œ ˙ ˙ A ----ve prae cla ra om ------ni bus

120 w w w. œ ˙ ˙ & œ w ˙ œ œ w › „ „ ge-- li cis vir---- tu ti bus,

w w ˙ œ w œ V œ › ∑ w ˙ w ˙ œ œ œ w „ ge-- le cis vir ---tu ti bus,

› w w w. œ ˙ ˙ V „ „ œ w ˙ œ œ w An -----ge li cis vir----- tu ti # # # ? „ „ ∑ w w w w w w. œ œ ˙ w ˙ An ---ge li cis vir ------tu ti Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library (http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

Saturday, June 30 Sacred Music Colloquium 2012 n 167 Josquin: Ave Maria ... virgo serena, a 4 7 127 › w & ∑ w w w w. ˙ w w „ ∑ Cu - jus fu - it as ---sump ti o No -

w œ œ ˙ ˙ ˙ w œ ˙. œ ˙ ˙ œ w V Ó w œ œ w Ó œ œ œ œ w ˙ ˙ Cu --- jus fu -- it as - sump ------ti o

› V › „ ∑ w w w w. ˙ w w bus, Cu - jus fu - it as ---sump ti o

› w ˙ ˙ ? „ ∑ ˙. œ w ˙. œ œ œ ˙ w › bus, Cu --jus fu it as -----sump ti o

134 w & w w. ˙ w w ˙ w. w ∑ „ „ stra glo ---ri fi ca --ti o.

˙. œ ˙ ˙ ˙. œ œ œ w ˙ œ œ œ œ ˙ V Ó w w Ó ˙ ˙ ˙ ˙ ˙ œ œ w ˙ No ------stra glo ------ri fi ca ti

w w V „ „ ∑ w w. ˙ w w ˙ w. No - stra glo ----ri fi ca - ti -

w ˙. œ ˙ ? „ „ „ ∑ ˙ œ œ ˙ ˙ ˙ œ œ œ œ w No - stra glo ------ri fi ca ti

141 w w › › w & „ „ › ∑ O Ma- ter De --- i, Me -

› w w › › w V › „ ∑ o. O Ma- ter De --- i, Me -

V › „ › w w w. ˙ › ∑ w o. O Ma- ter De --- i, Me -

? › „ › w w w. œ œ › ∑ w o. O Ma- ter De --- i, Me - Copyright © 2005 by Charles H. Giffen for the Choral Public Domain Library (http://www.cpdl.org). May be freely copied, distributed, performed or recorded.

168 n Sacred Music Colloquium 2012 Saturday, June 30 8 Josquin: Ave Maria ... virgo serena, a 4 148 w & w › › › › › › › men- to me --- i. A ----- men.

w w w w › › › › › › V men- to me --- i. A ----- men.

V w w › › › › › › › men- to me --- i. A ----- men.

w › ? w › › › › › › men- to me --- i. A ----- men.

Ave Maria, Gratia plena, Dominus tecum, Virgo serena. Ave cujus conceptio, Solemni plena gaudio, Coelestia, terrestria, Nova replet laetitia. Ave cujus nativitas, Nostra fuit solemnitas, Ut lucifer lux oriens, Verum solem praeveniens. Ave pia humilitas, Sine viro foecunditas, Cujus annuntiatio, Nostra fuit salvatio. Ave vera viginitas, Immaculata castitas, Cujus purificatio Nostra fuit purgatio. Ave praeclara omnibus Angelicis virtutibus, Cujus assumptio, Nostra glorificatio. O Mater Dei, Memento mei. Amen.

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                                  

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

172 n Sacred Music ColloquiuBbbzzzfzbbbbbbbbzzzGYvzbbbbbhvbbzbbhzzbbbzvbhvbzzzzm 2012 zhzzvzzhvzvbbvbHIvzbbbbhvzzzzbbzbzhbvbvzygzzbvzbGYb,.vzzbzzzzb]bvbzzzzztfbbbzbvzGYvzbzbbbhbvvbzhbvvzhbbbzbbbö Saturday, June 30  BzvzhvvbhvzvhvvbvvvzhvzzbzhvbbzbzzzhvvvzzzzzbhvzbzzhvzzbzbzbhzbvvhiÐhvzbbbbbßgzzbbzzbbfzbzzzbzbzbzzzbfzfzfbvbbbbsbmvzzz}zòzbxvvvvb    

  Ave, Maria Opus 2, No. 2 Sir Edward Elgar (1857-1934) Adantino e = 88 f p semplice ten.       SOPRANO                              A - ve, A -ve, Ma -ri - a, gra- ti - a ple -na; Do -minus te - f  p ten. ALTO                                 A  - ve, A -ve, Ma -ri - a, gra -ti - a ple -na; Do -minus  te - f  p ten.     TENOR                              A - ve, A -ve, Ma- ri - a, gra -ti - a ple -na; Do -minus te - f  p ten.   BASS                                A - ve, A -ve, Ma- ri - a, gra -ti - a ple -na; Do -minus te - Adantino e = 88                                    f  Organ  p                            senza Ped.    Ped. 

5 mf cresc. largamente f p                              cum; be -ne - dic - ta, be -ne - dic - ta tu in mu -li - e - ri - bus, mf cresc. f  p                        cum; be - ne -dic - ta tu in mu -li - e - ri - bus, mf cresc. f p                             cum; be -ne - dic - ta, be -ne - dic - ta tu in mu -li - e - ri - bus, mf cresc. f p                         cum; be - ne -dic - ta tu in mu - li -e - ri - bus,                                          ten.     f  espress. p mf cresc. largamente                                            Ped. Copyright © 2006 by the Choral Public Domain Library (http://www.cpdl.org)  Edition may be freely distributed, duplicated, performed, or recorded. Please send comments, amendments, suggestions and corrections to [email protected]

Saturday, June 30 Sacred Music Colloquium 2012 n 173 2

10 pp tranquillamente poco.                               et be -ne - dic - tus fructus ven -tris tu- i, Je - sus. pp poco.  cresc.                                et be -ne - dic - tus fruc -tus ven -tris tu- i, Je - sus, Je - sus, Je - pp poco. cresc.                                    et be -ne - dic - tus fruc -tus ven -tris tu- i, Je - sus, Je - sus, Je - pp poco. cresc.                                  et be -ne - dic - tus fruc - tus ven -tris tu- i, Je - sus, Je - sus, Je -                                                  pp tranquillamente poco.  cresc.                                         senza Ped.  

15 ff molto express. molto allargando       dim. a tempo p                             Sanc-ta Ma -ri - a, Ma- ter De - i, O -ra pro molto express. molto allargando ff dim. a tempo  p f                                  sus. Sanc -ta, Sanc-ta Ma -ri - a, Ma -ter De -Oi, -ra pro no - bis, dim. a tempo molto allargando ff molto express.      p                               sus. Sanc-ta Ma- ri - a, Ma -ter De -Oi, -ra pro no - bis, molto allargando ff molto express. dim. a tempo p f                                   sus. Sanc -ta, Sanc-ta Ma- ri - a, Ma -ter De - i, O -ra pro                                     molto allargando ff   dim. a tempo                                       senza Ped. Ped.

174 n Sacred Music Colloquium 2012 Saturday, June 30 3

20 Più lento ten. pp                                no - bis, no -bis pec -ca - to - ri - bus, nunc et in hora

pp                     o - ra pro no - bis, nunc et in hora pp                                o -ra pro no -bis pec -ca - to - ri - bus, nunc et in ho - ra ten. pp                             no - bis, pec -ca - to - ri - bus, nunc et in ho - ra                                     pp  Più lento                               senza Ped. 

24                             mor -tis nos - træ, O -ra pro no - bis.                            mor -tis nos - træ, O -ra pro no - bis.                             mor -tis nos - træ, O -ra pro no - bis.                          mor -tis nos - træ, O -ra pro no - bis.                                                          

Saturday, June 30 Sacred Music Colloquium 2012 n 175 4

28 p pp rall.              A --- men, A --- men. p pp rall.                   A --- men, A --- men. p pp rall.             A --- men, A --- men.  p pp rall.            A --- men, A --- men.                  pp rall.                    Ped.  (senza Ped.) 

SOURCE: Novello 1907 COMPOSER: Sir Edward Elgar (1857-1934), Op.2, No.2

transcribed from Novello edition by Robert G. Nottingham 23/5/06, rev. 8/5/07 & 20/9/07 edition prepared for Coro Nostro Chamber Choir of Leicester, UK

TEXT:

Ave Maria, gratia plena, Dominus tecum; benedicta tu in mulieribus, et benedictus fructus ventris tui, Jesus. Sancta Maria, Mater Dei, ora pro nobis peccatoribus, nunc et in hora mortis nostrae. Amen.

TRANSLATION:

Hail Mary, full of grace, the Lord is with thee; blessed art thou among women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

176 n Sacred Music Colloquium 2012 Saturday, June 30 Alternatim, women begin

Saturday, June 30 Sacred Music Colloquium 2012 n 177 178 n Sacred Music Colloquium 2012 Vespers

3 p.m. June 30

Extraordinary Form

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180 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 181 182 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 183 184 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 185 Page is intentionally left blank

186 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 187 188 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 189 Page is intentionally left blank

190 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 191 192 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 193 194 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 195 196 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 197 198 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 199 200 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Page is intentionally left blank

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 201 202 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Magnificat Tertii Toni Orlandus Lassus (1530-1594)

Superius & C „ „ „ „

Altus V C „ „ „ ∑ w Et

Tenor V C „ „ ∑ w w w Et ex -

Bassus w w. ˙ ˙. œ œ ˙ ? C w œ w w Et ex ---sul ta --- vit

5 S. . & w w w. ˙ ˙ ˙ œ ˙ ˙ ˙ w Et ex --- sul - ta ---- vit A. w w ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w œ V œ ˙. ex ----sul ta ----- vit

T. V ˙ ˙ ˙. œ œ œ w ˙ ˙ ˙ w w Ó ˙ --sul ta ------vit spi -

B. ˙ ? „ „ „ ∑ Ó spi -

This engraving is given into the Public Domain as a gift to those who sing and those who love Sacred Music in honor of the XXII. Sacred Music Colloquium. http://www.musicasacra.com

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 203 9 S. w & ∑ ∑ Ó ˙ ˙ ˙ w ˙ ˙ spi --ri tus meus in A. w ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ V ∑ ∑ Ó spi --ri tus me - us in De -

T. w œ œ w V ˙ ˙ w œ œ w w Ó ˙ --ri tus me ----- us in

B. ˙ w ˙ ˙ ˙ ˙ w ? ˙ ˙ ˙ œ œ œ œ ˙ ˙ --ri tus me - us spi-- ri tus me - us

S. & w ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ w w De- o sa ---lu ta˙ ri me ---œ o. sa - A. w w w ˙ ˙ V Ó ˙ ˙ ˙ w œ œ œ œ -- o sa--- lu ta ri me -- o.

T. w ˙ V w w w ∑ ∑ Ó De- o sa-- lu

# B. w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? Ó ˙ w ˙ ˙ in De - o sa--- lu ta ri me -- o. sa -

17 # S. & ˙ ˙ ˙ ˙ ˙ w ˙ W - lu-- ta ri me --- o. A. ˙ w ˙ ˙ w W V ˙ sa-- lu ta- ri me - o.

T. ˙ ˙ œ V ˙ ˙ œ œ œ w W ta- ri me ----- o.

B. ? ˙ ˙ ˙ ˙ ˙ ˙ w W - lu-- ta ri me --- o.

204 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 20

Superius & C ∑ w ˙ w ˙ w w Qui - a fecit mihi magœ œ œ œ œ-w Altus w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ V C ˙. œ ˙ w ˙ Qui- a fe - cit mihi mag --- na qui

Tenor V C „ „ „ ∑ w Qui -

Bassus ˙ w ˙ ? C „ „ ∑ w Qui - a fecit

S. & Ó ˙ ˙ w ˙ ˙ ˙ ˙ naw Qui - a fecit mihi magœ œ œ---œ œ w na˙ qui A. ˙ ˙ w ˙ ˙ ˙ V Ó ˙ ˙ ˙ ˙ œ œ œ ˙ w potens est, Qui- a fe - cit mihi mag -

T. V ˙ w ˙ ˙ ˙ ˙ ˙ w ˙ w Ó ˙ a fecit mi-- hi mag na qui po˙ - tens est, qui

B. w w ? ˙ ˙ w w ∑ Ó ˙ ˙ ˙ mihi mag - na qui potens

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 205 28

S. & ˙ ˙ ˙ ˙ ˙ ˙. œ œ ˙ ˙ œ œ œ œ ˙ pow - tens˙ est, qui po --- œ tens

A. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ V w Ó ˙ w Ó na qui potens est, qui potens est, et sanctum

T. w ˙ ˙. V ˙ ˙ w Ó œ w w Ó ˙ potens est, qui po - tens est, et

B. w ˙ ? w w „ ˙ W est, qui potens est,

S. & w ∑ „ w ˙ ˙ ˙ ˙ ˙ ˙ est, et sanctum No- men e -

A. ˙ ˙ ˙ ˙ ˙ ˙ ˙ V œ œ œ œ œ w w Ó ˙ ˙ No- men e ---- ius, et sanc-- tum No men

# T. ˙ ˙ . V ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ œ sanc-- tum No men e --- ius, et sanctum No- men e -

B. W ? Ó ˙ ˙ ˙ ˙ ˙ w „ et sanctum No- men e - ius,

36 # # S. & ˙ ˙ ˙ ˙ ˙ ˙ w ˙ W -- ius, et sanc˙ - tum˙ No˙ - men e --- ius.

A. ˙. ˙ ˙ ˙ ˙ w V œ ˙ ˙ Ó ˙ #W e - ius, et sanctum No- men e - ius.

T. V w ˙ ˙ ˙ ˙ w w w W -- ius, et sanctum No - men e - ius.

B. ? w w ˙ ˙ ˙ ˙ W et sanc - tum No- men e --- ius.W

206 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 40

Superius & C „ w ˙ ˙ ˙ ˙ ˙. œ Fe- cit po ---ten ti am œ w w

Altus ˙ ˙ . ˙ ˙ ˙. V C w ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ Fe- cit po ---ten ti am in bra-- chi o su -

Tenor V C „ „ „ „

Bassus ˙ ˙ ? C „ „ „ w Fe- cit po -

44 # S. & ˙ ˙ ˙ ˙ ˙. œ ˙ ˙ ˙ w ∑ Ó ˙ ˙ in bra-- chi o su --- o, in

A. W w ˙ ˙ w V ˙ ˙ ˙ ˙ ˙ ˙ o, fecit po ---ten ti am in bra-- chi o

T. V „ „ ∑ Ó ˙ ˙ ˙ ˙ ˙ Fe - cit po--- ten ti

B. ˙ ˙. ˙. ? ˙ œ œ ˙ ˙ ˙ ˙ w œ ˙ œ œ œ œ ˙ ten-- ti am in bra-- chi o su ----

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 207 48

S. & ˙ ˙ w Ó w bra-- chi o su˙ ˙----. œ ˙ ˙ ˙ o:w di˙ -- sper

A. w w ˙ V œ œ ˙ ˙ w w #w Ó ˙ su ------o: di -

# T. V ˙. œ ˙ ˙ ˙ ˙ ˙ œ œ w ˙ W am œ ˙ in bra-- chi o su --- o:

B. . ? ˙ œ œ ˙ ˙ ˙ w w w o,˙ in bra-- chi o su --- o:W

S. & ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙. œ ˙ sit su˙ ----- per ˙ w bos,˙ di˙ -- sper sit super -

A. ˙ ˙ ˙ œ œ w ˙ ˙ w w V N˙ ˙ ˙ ˙ sper----- sit su per bos, di-- sper sit su-- per

T. ˙ ˙ ˙ ˙ œ ˙ V „ Ó w ˙ ˙ œ œ œ di- sper - sit su---- per

B. w ˙. ? „ ∑ w ˙ ˙ ˙ œ ˙ di - sper- sit su ----per

56 # S. & w œ w ˙ ˙ ˙. œ ˙ ˙ w ˙ W -- bosœ œ œ ˙ men- te cor- dis su - i.

A. ˙ ˙ ˙ ˙ ˙ w. œ W W V ˙. œ ˙ œ bos men - te cor- dis su ---- i.

T. ˙ w w V ˙ Ó ˙ ˙ ˙ w ˙ ˙ w W -- bos men --te cor dis su - i.

B. œ ˙ ˙ ? w w Ó w ˙ ˙. W - bos men- te cor - dis su - i.W

208 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 61 Superius . & C W w ˙. œ ˙ ˙ œ ˙ ˙ œ œ w E - su- ri - en ----

Altus w w ˙ ˙ œ œ œ ˙ ˙ ˙ w V C ∑ œ œ œ E ---su ri en --- tes,

Tenor V C „ „ „ W E -

Bassus ? C „ „ „ ∑ w E -

S. & W „ „ Ó ˙ w tes im-- ple

A. ˙ ˙ ˙ w ˙ w. œ ˙ ˙ ˙ œ œ V Ó ˙ œ e---- su ri en tes im ----ple vit bo -

T. . V w ˙. œ ˙ ˙ œ ˙ ˙ œ œ w W su- ri - en ---- tes

B. ? w ˙ ˙ œ œ œ œ ˙ ˙ œ œ œ œ w ˙ ˙ ˙ ˙ su------ri en tes im-- ple vit

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 209 69 S. ˙ œ & w w w Ó ˙ ˙ œ œ œ œ œ w ˙ w ∑ vit bo - nis, im --ple vit bo - nis, . A. œ ˙ ˙ ˙ w ˙ w œ œ ˙. w V œ w ˙ ˙ ˙ œ --- nis, im --ple vit bo ----

T. w V „ „ Ó ˙ w w w Ó ˙ im-- ple vit bo - nis, im -

B. w œ œ œ ˙ ˙. ˙ ˙. œ ˙ ? w Ó ˙ ˙ ˙ œ œ œ œ ˙ ˙ bo- nis, im-- ple vit bo - nis, im --ple vit

S. & Ó ˙ ˙ ˙ w ∑ Ó ˙ w w w ˙ ˙ w et di-- vi tes di- mi - sit in-- a # A. w ˙ ˙ w ˙ ˙ œ œ œ ˙ ˙ œ œ w ˙ V ∑ w œ nis: et di-- vi tes di-- mi sit in --a

T. ˙ œ V ˙ œ œ œ œ œ w ˙ w ∑ Ó ˙ ˙ ˙ w ∑ ple --- vit bo - nis: et di-- vi tes

B. ˙. ˙ ˙ w ? œ ˙ œ œ œ œ œ œ w ˙ ˙ ˙ ˙ ˙ ˙ w bo ---- nis: et di-- vi tes di-- mi sit in-- a

79 # S. & w Ó ˙ ˙ ˙ ˙ ˙ œ œ w ˙ W nes, di --mi sit in- a --- nes,

A. ˙ w ˙ ˙ ˙ w W W V nes, di- mi - sit in ----a nes.

T. V Ó ˙ w w w ˙ ˙ w W di---- mi sit in-- a nes.

B. œ ˙ ? ˙ ˙ ˙ œ œ œ ˙. œ w w nes, di-- mi sit in ----a nes.W

210 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 83 Altus w w ˙ ˙ ˙ w ˙ ˙ V C ˙ Ó w œ œ Si- cut lo-- cu tus est ad pa -

Tenor w w ˙ ˙ ˙ ˙ w ˙ V C „ ˙ Si- cut lo-- cu tus est ad pa -

Bassus w ? C „ „ „ w Si- cut

87 A. w w w. ˙ ˙ w V ˙ ˙ w ˙ - tres no - stros, si - cut lo --cu tus est

T. ˙ ˙. œ ˙ ˙ ˙ V œ œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ tres no ---- stros, sicut lo --cu tus est ad b b B. ˙ ˙ ˙ w ? ˙ ˙ ˙ ˙ ˙. œ ˙ w w lo-- cu tus est ad pa - tres no - stros, ad

91 A. w ˙ ˙ ˙. œ ˙ w w w. ˙ V Ó ad pa - tres no - stros, A - bra -

T. ˙ ˙ œ œ ˙. œ œ W V ˙ œ œ œ ˙ ˙ ˙ ˙. pa- tres no ----- stros,

B. w ? w w ˙ ˙. œ œ œ Ó ˙ ˙ ˙ ˙. œ pa- tres A --bra ham,

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 211 95 A. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w V ∑ Ó ˙ ham et se--- mi ni e ius in sæ-- cu la. A -

T. ˙ ˙ ˙ œ V Ó w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ A --bra ham et se--- mi ni e ius in sæ- cula.

B. ˙ ? œ œ œ œ w „ Ó ˙ ˙ ˙ ˙ ˙ ˙ A-- bra ham et se--- mi ni e ius in

99 A. ˙ ˙ œ ˙ V œ œ œ W w ∑ ∑ Ó - bra- ham et

T. ˙ ˙ ˙ V w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ A --bra ham et se--- mi ni e ius in sæ-- cu

B. ? ˙ #˙ w ∑ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ sæ-- cu la. A - bra- ham et se--- mi ni e

103 n A. ˙ ˙ ˙ ˙ w. ˙ ˙ #˙ œ œ œ œ ˙ ˙ ˙ ˙ W V œ se--- mi ni e ius in sæ-- cu la. in sæ-- cu la.

# T. ˙. œ ˙ ˙ w V œ œ ˙ Ó ˙ ˙ ˙ ˙ ˙ ˙ #˙ W la. et se--- mi ni e ius in sæ- cula.

B. ˙ ˙ w w W ? w Ó #˙ Ó ˙ ˙ ˙ w ius in sæ-- cu la. in sæ- cu - la.

212 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 108

S. & C W W W Si ------cut A. œ œ œ ˙ ˙ ˙ œ œ œ ˙ w ˙ V C ˙. œ Si --- cut e- rat in prin -

T. w. V C ∑ w ˙ ˙ ˙ ˙ #˙ Si -- cut e- rat in prin -

B. ˙ ˙ œ ˙ ? C ∑ ˙. œ œ œ ˙ ˙. œ œ Si --- cut e - rat

111 S. w & w w ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ e - rat in prin ---ci pi o, et nunc, et sem - A. ˙ ˙ w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ w V ci-- pi o, et nunc, et semper, et nunc, et sem -

T. w ˙ ˙ ˙ ˙ w w ˙ ˙ V ˙ ˙ w ci-- pi o, et nunc, et sem -----

B. œ ˙ ˙ œ ˙ œ œ ˙ ? ˙ ˙ ˙. œ œ ˙ ˙. œ œ ˙ ˙ in prin----- ci pi o, et nunc, et

115

S. & ˙ œ œ w W Ó w ˙ ˙ ˙ w --- per, et in sæ- cula . A. W w ˙. œ œ œ ˙ ˙ ˙ ˙ œ œ V Ó ˙ per, et in sæ --- cula

T. W w ˙ ˙ ˙ ˙ w w V Ó ˙ --- per, et in sæ- cu - la

B. w. ˙ ˙ ? W W ˙ ˙. œ œ sem - per, et in sæ-- cu la

Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 213 119

S. & W „ „ Ó w ˙ sæ-- cu A. ˙ w ˙ ˙ ˙ ˙ ˙ œ V œ œ œ œ w w ∑ sæ--- cu lo rum. A ---- men,

T. W w ˙ V „ „ Ó sæ-- cu

# B. w ˙ ˙ ˙ ˙ ˙ œ œ w ˙ w w ? ˙ sæ--- cu lo rum. A ---- men, sæ -

123 # S. & ˙ ˙ ˙ ˙ œ œ w ˙ W w. ˙ lo- rum. A ---- men, sæ - cu - A. ˙ ˙ w w. ˙ ˙ w ˙ V ˙ w Ó sæ--- cu lo rum. A - men, sæ-- cu

T. ˙ ˙ ˙ ˙ œ ˙ V œ œ œ œ w ˙ w ˙ ˙ ˙ ˙ lo- rum. A ---- men, sæ--- cu lo rum. A -

B. w ? ˙ ˙ ˙ ˙ w ∑ w ˙ ˙ ˙ ˙ cu-- lo rum. A - men, sæ - culo- rum.

127

S. & w w W W lo - rum. A - men. A. ˙ ˙ ˙ W W V ˙ lo- rum. A --- men.

T. œ w ˙ W V œ #W ----- men.

B. ? ˙. œ ˙ #˙ W A ----- men.W

214 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 215 216 n Sacred Music Colloquium 2012 Vespers, Saturday, June 30 Vespers, Saturday, June 30 Sacred Music Colloquium 2012 n 217 218 n Sacred Music Colloquium 2012 13th Sunday in Ordinary Time

11 a.m. July 1

Ordinary Form

Sunday, July 1 Sacred Music Colloquium 2012 n 219 220 n Sacred Music Colloquium 2012 Sunday, July 1 Claudio Monteverdi MESSA A 4 VOCI DA CAPELLA

Kyrie - Christe - Kyrie

canto # b C # C „ „ › w &== & w w w w w alto Ky - ri - e e - lei - # C # C „ „ „ „ „ „ B==b & tenore # # C › w w w w w w w w w Ó ˙ ==B b C V basso Ky - ri - e e - lei - son Ky - B b ? # C „ „ „ „ „ „ ==C # basso continuo B ? # C › w w w w ==b C # w w w w w. ˙

7 # # „ „ Ó & w w ˙ ˙ w › ˙ ˙ ˙ ˙ ˙ ˙ ˙ son Ky-ri-e e - lei - ## „ „ „ „ Ó & ˙ w Ky˙ - ri˙ - e˙ e - lei ˙ ˙ ˙ ˙- ˙ ## ˙ ˙ ˙ ˙ #˙ w ˙ w V Ó ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ #˙ w „ ri - e e - le - i - son Ky - ri - e e-le - i - son ? # # „ ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w. ˙ w w „ Ky - ri-e e-lei - son ? # # ˙ ˙ ˙ ˙ #˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w. ˙ w w ˙ ˙ w 4 3

Sunday, July 1 Sacred Music Colloquium 2012 n 221 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 1 14 ## ˙ ˙ ˙ ˙ w „ & ˙ ˙ w w w w Ó ˙ ∑ „ „ son Ky - ri - e e-le - i - son ## & ˙ ˙ ˙ ˙ ˙ ˙. œ w ˙ ˙ w w ˙ ˙ w w ˙ w ˙ son˙ Ky- ri - ew e - lei˙ ˙ ˙ - ˙ # ˙ w ˙ V # Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ w ˙ ˙ w w w w w w w Ky-ri - e e - lei - son Ky-ri - e e - lei - w w w w w w ? ## „ „ „ „ w w Ky - ri - e e - lei - ˙ ˙ ? # w w w w w w w w # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w w

22 # ˙ w ˙ & # Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ nw w w w ∑ „ Ó ˙ ˙ ˙ Ky-ri-e e - lei - son Ky-ri - e e- ## & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w. ˙ w w ˙ w w. ˙ ˙ ˙ ˙ ˙. œ ˙ son˙ Ky- ri - e e˙ - lei - ˙ ## n˙ nw V w w „ ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ . ˙ w w w. son Ky - ri-e e - lei - ˙ ˙ ? ## ˙ w w ∑ „ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w ˙ ˙ w w. ˙ son Ky-ri- e e - lei - ˙ w ˙ ˙ ? ## ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w ˙ ˙ w w. ˙ 6b 30 # ˙ w ˙ w w . & # ˙ ˙ ˙ ˙ ˙ w ˙ w w w w w ˙ œ œ w #˙ lei - son Ky - ri - e e - le - i - # # w ˙ w ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ w w ˙ ˙ w son Ky-ri-e e - le - ˙ ˙ i - son ## ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w ˙ ˙ ˙ ˙. œ ˙. œ w w w V w ˙ w son Ky - ri-e e-lei - son ? # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w. ˙ w w # w w w ∑ „ ∑ Ó son Ky - ri - e e-lei - ˙ ˙ ˙ ? # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ w. ˙ w w # w w w

222 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 2 38 ## „ „ w & w ∑ Ó ˙ ˙ ˙ ˙ ˙ w w ˙ ˙ w › C son Ky - ri - e e - lei - son # # C & w w w w w w w w w w w ˙ ˙ #˙ w ˙ › Ky - ri - e e - le - i - son # ˙ ˙ ˙ w. n˙ V # Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ ˙ w › › C Ky- ri - e e - lei - son ? # w w › C # w w w w w w w w w w › son Ky - ri - e e - lei - son ? # w › C # w w w w w w w w w w w ›

46 # # C nœ & w ˙ ˙ w w ˙. œ ˙. œ ˙ œ œ ˙ ˙ ˙ œ œ œ œ œ › › Chri-ste e - lei - son ## C & w ˙ w œ ˙ ˙ œ œ ˙ ˙ w w w › Chri-ste# e˙ - le w ˙. ˙ - # iw - son ## w ˙ w w. ˙ w nw w. V C ˙ w w w › ˙ Chri-ste e - lei - son e - lei - son Chri- ? # # C „ „ „ „ „ ∑ Ó ˙ ˙ #˙ ˙ ˙ Chri - ste e-lei - w. w ? # w ˙ w nw w w ˙ # C w ˙ ˙ w ˙ ˙ #˙ ˙ ˙

53 # # „ „ ∑ & „ Ó ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ œ œ ˙ œ œ œ œ ˙ Chri-ste e - le - # # „ „ ∑ Ó & ˙ #˙ ˙ ˙. ˙ œ œ œ ˙ ˙ Chri˙ - ste e-lei ˙ œ ˙ œ œ œ œ- œ œ œ œ œ ## V ˙ ˙ ˙ ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ œ#œ #˙ w ˙ › „ ∑ Ó ˙ ste e - le - i - son Chri- ? # # ˙. œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙w › „ „ son ? # w # ˙. œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ ˙w › œ œ œ œ w ˙ ˙

Sunday, July 1 Sacred Music Colloquium 2012 n 223 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 3 60 # ˙ ˙ & # #˙ w ˙ › „ w ˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ i - son Chri - ste e - le - # & # „ „ ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ w son› Chri - ste e - le - # ˙ ˙ . œ ˙ V # #˙ ˙ ˙ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ ˙ w › ste e - lei # - # son ˙ #˙ ˙ ˙. ˙ # œ œ #˙ w ˙ › ? ## ∑ Ó ˙ #˙ œ ˙ ˙ œ œ œ #œ Chri - ste e - le - i - son ˙ #˙ ˙ ˙. ˙ œ œ #˙ w ˙ › ? ## ˙ #˙ ˙ ˙ #˙ aœ ˙ #˙ œ œ œ œ

66 ## ˙ ˙ ˙ . & ˙ w ˙ ˙ ˙ ˙ ˙ ˙. œ œ œ œ œ ˙ œ œ œ œ œ#œ #˙ w ˙ › i - son Chri - ste e - le - i - son ## ∑ ∑ Ó & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ #˙ ˙ › i - son Chri˙ - ste e - le - i˙ - son # ˙ #˙ ˙ ˙ ˙ œ w. ˙ V # ∑ Ó ˙ ˙ ˙ ˙ œ œ œ œ œ œ œ ˙ ˙ w › Chri - ste e - lei - son ? ## „ „ „ „ „ „ „

? # ˙ ˙ ˙ ˙ # ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ w w w. ˙ ˙ ˙ w ›

73 # ## ˙ & w ˙ ˙ w #w ˙. œ ˙ ˙ ˙ œ œ ˙ w w w #w › C Chri - ste e - lei - son # # › C & w ˙ ˙ w w › w w › › Chri - ste e - lei - son Chri - ste e - lei - son # œ ˙ ˙ w V # w ˙ ˙ w w ˙. œ ˙ ˙ ˙ œ w › › C Chri - ste e - lei - son ? # w ˙ w w. #˙ w w w › # ˙ w w › C Chri - ste e - lei - son ? # w ˙ ˙ w w. #˙ w w w › # w w › C

224 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 4 80 # # C ˙ w w ∑ w w nw & ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w w w Ky-ri - e e - lei - son Ky - ri - e # # C „ w ˙ & ˙ ˙ ˙ ˙ w ˙ ˙ Ky-˙ri - e ˙e - n le˙ ˙ ˙ ˙ -˙ ˙ ˙ w i˙ - son˙ Ky - ri - ## C „ „ ˙ ˙ ˙ ˙ n˙ ˙ ∑ V ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w Ky-ri-e e - lei - ˙ son ? # ˙ ˙ ˙ ˙ # C „ „ ∑ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ nw w ∑ Ky-ri - e e - lei - son ˙ ˙ ? # ˙ ˙ n˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ # C ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ nw w b 87 ## n˙ w & ˙ . œ ˙ œ œ ˙. œ ˙ ˙ ˙ w „ „ w w w e - le - i - son Ky - ri - e e - # & # ˙ w w ˙ w w nw n˙ œ ˙ ˙ w ˙ e e - le ˙ - œ ˙. œ ˙ œ œ w ˙i - ˙son Ky - ri - e e - ## w w nw ˙ w nw w V w w w w ˙ w ∑ ∑ Ky - ri - e e - lei - son Ky - ? # w w # „ „ ∑ nw w w w ∑ „ Ky - ri - e e - lei - son w w nw w w ? # w w w ˙ ˙ ˙ # w nw w w ˙ b 5 6b 7 6 7 6 7 6 7 6 b 94 ## . ˙ w & ˙ œ#˙ ˙ w w w w › › „ Ó lei - son Ky-ri - # & # ˙ ˙ w ˙ w w w w nw lei - w sonw Ky - riw - e ew - leiw -w son˙ Ky - ## w. ˙ ˙ ˙ ˙ ˙. V w w ˙ ˙ ˙ œ ˙ ˙ ˙. œ œ œ ˙ ˙. œ œ œ ˙ ˙. œ ri - e e - le - ? # w w w w w ˙. œ ˙. # w w w n˙ ˙ œ œ œ ˙ n˙. œ œ œ ˙ Ky - ri - e e - lei - ? # w w w w w w ˙. œ ˙. # w w n˙ ˙ œ œ œ ˙ n˙. œ œ œ ˙ # 6 6 Sunday, July 1 Sacred Music Colloquium 2012 n 225 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 5 101 ## ˙. œ ˙ n˙. œ ˙. & ˙ œ œ ˙ œ ˙ ˙ ˙. œ œ œ ˙ ˙. œ œ œ ˙ ˙. œ ˙ w. ˙ e e - lei - ˙ # # ˙. . & w ˙ ˙ œ ˙ ˙ ˙ œ œ œ ˙ ˙. œ ˙ ˙. œ ˙. ri - e e - le ˙ - ˙ ˙ œ œ œ ˙ ˙ ˙ #˙ ˙ # ˙. œ ˙. œ n˙ w w V # ˙ w ˙ ˙ . œ œ œ ˙ w w w w w ˙ i - son Ky - ri - e e - lei - son ? # ˙ ˙ œ w w ˙. œ ˙ ˙. œ œ ˙ w w # ˙. œ œ ∑ ∑ ˙ œ w ˙ son Ky - ri - e e - lei - son n˙. œ ˙ ? # ˙ ˙ œ œ w w w . œ ˙ ˙ ˙. œ œ œ ˙ w w w # ˙. œ ˙ 3#

108 # # w w ˙ w w & „ #˙ ˙ ˙ ˙ w w w ˙ w sonw Ky - ri - e e - lei - son Ky - ri - e e - ## ∑ w & w ˙ w w w w #˙ ˙ # i˙ -w son Ky - ri - e e˙ - lei w ˙ ˙ - w son˙ Ky - ri - # w #˙ w ˙ ˙ ˙. œ ˙ V # Ó ˙ ˙ w ˙ w ˙ › „ ˙ Ky - ri - e e - le - i - son Ky - ri-e e - w w w › › ? ## ∑ #˙ ˙ ˙ ˙ ˙ ˙ w w w Ky - ri - e e - lei - son Ky - w w › › ? ## ˙ ˙ #˙ ˙ w ˙ ˙ ˙ ˙ w w w 4

115 # › › & # w w w w › n› › #› C lei - son e - lei - son # # w C & w w w w w ˙. œ œ œ ˙ ˙. œ ˙ w. ˙ #˙ w ˙ › e e - le - ˙ i - son # ˙. œ ˙. V # œ œ ˙ œ œ œ ˙ ˙. œ ˙ ˙ w n˙. œ œ œ ˙ ˙. œ ˙ w ˙ ˙ w C lei - ˙ son› ? # › › › ˙. œ ˙. › C # n˙ ˙ œ ˙ ˙ n˙. œ œ œ ˙ › ri - e e - lei - son ? # › › › ˙. . › C # œ n˙ ˙ ˙ œ ˙ ˙ n˙. œ œ œ ˙ ›

226 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 6 Gloria in excelsis Deo

123 ## C & „ w. ˙ w w w w w. ˙ w w w w Et in ter - ra pax ho - mi - ni - bus bo - nae # # C „ & w. ˙ w w w Et in ter -#w ra pax how - miw. - ni˙ - busw wbow - nae ## w. V C ˙ w w › w w w. ˙ w w w w Et in ter - ra pax ho - mi - ni - bus bo - nae ? # w # C „ . ˙ w w w w w. ˙ w w w w Et in ter - ra pax ho - mi - ni - bus bo - nae w ? # . ˙ w # C . ˙ w w w w w. ˙ w w w w

130 # # ∑ Ó ˙ ˙ & w. ˙ › ˙ ˙ ˙ ˙. œ œ œ œ œ vo - lun - ta - # tis› Lau - da - mus te lau - da - ## Ó & ˙ ˙ #˙ ˙ ˙ œ œ œ vo -˙ lun -w taw - w tisw Lau˙ - da - mus te˙ lau - da. œ œ œ œ - œ œ œ œ œ œ # # „ „ „ V w w w › vo - lunw - ta - tis ? # # w w n› › „ „ „ vo - lun - ta - tis ? # # w w n› w. ˙ ˙ #˙ ˙ ˙ ˙. œ ˙. œ ˙. œ ˙. œ

La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 7

Sunday, July 1 Sacred Music Colloquium 2012 n 227 136 ## „ ∑ & œ œ œ œ œ œ œ#œ #˙ w ˙ › „ Ó œ œ mus te Be-ne- # # „ ∑ Ó & œ ˙ ˙ œ ˙ œ œ œ ˙ ˙ ˙ musw te› Beœ - neœ - di-ci# -œ musteœ A - do-œ # ˙ ˙ . w. V # ∑ Ó ˙ #˙ œ œ ˙ œ ˙ œ œ œ œœœœœœœ ˙ ˙ ˙ w Lau - damus teBe-ne-di - ci-musBe-ne-di - ci - mus ˙ #˙ ˙ ˙. ˙ œ œ #˙ w ˙ ? ## „ ∑ Ó ˙ #œ œ #œ ˙ #œ œ œ œ œ œ Lau - da-muste Be-ne-di - ci - mus ˙ ˙ #˙ ˙ ˙. ˙ œ œ #˙ w ˙ ? ## w ˙ ˙#˙ ˙ ˙ #œ œ Nœ ˙ #œ œ œ œ œ œ 6

142 # # w › & ˙ œ œ ˙ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ #œ #˙ ˙ „ di-ci-mus te A-do - ra - mus te ## ∑ Ó & ˙ œ œ œ œ œ ˙ ˙ œ œ ra. œ œ œ œ œ œ œ œ œ œ- œ œ ˙ ˙ musw te› A-do- # ˙ #˙ ˙ ˙ ˙ V # › „ ∑ Ó œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ te A-do - ra - muste Glo - ri-fi - ca-mus te glo-ri-fi - › ˙#˙ ˙ ˙ ˙ ? ## „ „ ∑ Ó œ œ #˙ #˙ ˙ te A-do - ra-muste Glo-ri - fi - ca-mus › w ˙. œ ˙ ˙ ˙#˙ ˙ ˙ ˙ ? ## w ˙ #˙ ˙ ˙ #˙ ˙ ˙

148 # ˙ #˙ ˙ ˙ ˙ & # „ ∑ Ó œ œ ˙ ˙ ˙ n˙ ˙ ˙ ˙ w. ˙ A- do - ra - mus te Glo - ri - fi - ca - mus te glo-ri - fi - ca - mus ## & ˙ ˙ ˙ #˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › w ra - mus te Glo - ri - fi - ca - mus te glo - ri - fi - ca ˙ - #wmus ## w. ˙ w. w. V ˙ ˙ w. ˙ w. ˙ w w ca - mus te glo - ri - fi - ca - mus ? # ˙ ˙ ˙ ˙ ˙. œ ˙ #˙ w. w ˙ # ˙ ˙ nw w w. ˙ te glo - ri - fi - ca - mus glo - ri - fi - ca - mus ? # ˙ ˙ ˙ ˙ ˙. œ ˙ w. # #˙ ˙ w ˙ ˙ nw w w. ˙ # # 228 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 8 154 ## œ ˙. œ & #w w ˙ #˙ w w ˙ ˙ w w ∑ w ˙ ˙ ˙ ˙ ˙. œ te Gra - ti - as a - gi - mus ti - bi prop - ter ma- gnam glo - # # ∑ & w w ˙ ˙ w w ˙ ˙ ˙ œ ˙. œ te Gra - ti - as a - gi -˙ mus tiw -w bi propw - ˙ ter˙ ma - gnam glo˙. - œ ## ˙ ˙ w w ˙ ˙ ∑ ˙ ˙ ˙ œ œ ˙. œ œ V w w #w w w ˙ ˙ te Gra - ti - as a - gi - mus ti - bi prop - ter ma- gnam glo - ? # w w w ˙ ˙ ˙ ˙ ˙. œ # w w ˙ ˙ w w ˙ ˙ ∑ œ ˙. œ te Gra - ti - as a - gi - mus ti - bi prop - ter ma- gnam glo - ? # w w w ˙ ˙ ˙ ˙ ˙. œ # w w ˙ ˙ w w ˙ ˙ ∑ œ ˙. œ #

161 # ˙. . w & # ˙. œ ˙. œ œ œ ˙. œ ˙ œ ˙ ˙ ˙ œ œ w ∑ „ ri-am tu - am ## ∑ „ & ˙ ˙ ˙ ˙. œ œ œ w ˙ ˙ › w ˙ ˙. ri - am tu - am # œ ˙ œ œ w › w ˙. œ œ œ œ V # œ œ ˙. œ w ˙ ˙. œœ w œ ri - am tu - am Do-mi - ne De - ˙. w w ˙. œ œ œ œ ? ## ˙. œ œ œ ˙. œ w w w #w œ ˙ ˙ ri - am tu - am Do-mi - ne De - us ˙. w w ˙. œ œ œ œ ? ## ˙. œ œ œ ˙. œ w w w #w œ ˙ ˙

167 # & # „ „ „ „ ∑ ˙. œ #w œ œ œ nœ Do - mi - ne Fi - ## & „ „ „ „ „ ˙. Do -œ mi-new ## œ œ œ V ˙ ˙ œ ˙ ˙ ˙ ˙ #˙ ˙ w w w w. ˙ w ∑ us Rex cae - le - stis De-us Pa - ter om - ni - po - tens œ ? ## œ œ œ ˙ ˙ ˙ ˙ #˙ ˙ w w #w w w #w w ∑ Rex cae - le-stis De-us Pa - ter om - ni - po - tens œ w ? ## œ œ œ ˙ ˙ ˙ ˙ #˙ ˙ w w #w w w #w w # 6 Sunday, July 1 Sacred Music Colloquium 2012 n 229 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 9 173 ## ∑ & ˙ ˙ œ œ œ œ ˙ ˙ ˙. œ ˙. li u - ni - ge - ni -#wte Jenœ -w wsu Chri› - wste # & # ∑ œ œ œ œ ˙ ˙ nœ œ œ œ ˙. w w w Fi - li u -˙ ˙ ni - ge - niœ -# tew Je-su˙ ˙ Chri#w - ste # ˙. œ œ œœ V # „ „ „ „ ∑ #w nœ Do - mi - ne De - ˙. œ ? ## „ „ „ „ „ #w Do-mi - ne ˙. œ w n˙. œ w ˙. œ ˙ w ˙ ˙. œ ? ## #w ˙ ˙ ˙. œ #w # 179 # ˙. œ & # „ ∑ œ w œ œ œ ˙ ˙ nœ œ œ œ ˙ ˙ ˙ ˙ Do - mi-ne De - us A - gnus De - i ## „ ˙. œ & œ #w œ œ œ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ Do - mi-ne De - us A - gnus De - i Fiw - ## ˙ ˙ œ œ œ œ œ œœ . V ˙ ˙ œ ˙ ˙ ˙ œ ˙ ˙ ˙. œ œ œ w us A - gnus De - i Fi - li - us ˙ Fi - œ ? # œ œ œ ˙ ˙ œ œœ œ ˙ ˙ ˙. œ ˙. . # ˙ ˙ œn˙ ˙ ˙ œ œ œ ˙ De - us A - gnus De - i Fi - li - us œ ? # œ œ œ ˙ ˙ œ œœ œ ˙ ˙ ˙. œ ˙. . # ˙ ˙ œn˙ ˙ ˙ œ œ œ ˙ 6 n 6 184 ## & w ˙ ˙ w w ∑ w w ˙ ˙ w w w w w. ˙ w. ˙ Fi - li - us Pa - tris Qui tol-lis pec - ca - ta mun-di mi - se - re - re ## & ˙ ˙ w ˙ w ∑ w w ˙ ˙ w w w w w. w li - us Pa - #˙ tris Qui tol - lis pec - ca - ta mun - di mi - se˙ - re -# rew ## nw w ˙ #˙ w w w. ˙ w nw V ˙ ˙ w w ∑ w w w li - us Pa - tris Qui tol-lis pec - ca - ta mun - di mi - se - re - re ? # # nw ˙ ˙ w w „ „ „ „ „ ∑ Fi - li - us Pa - tris ? # w w # nw ˙ ˙ w w ∑ w ˙ #˙ w w. ˙ w w nw w

230 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 10 192 ## ∑ „ & w ˙ ˙ w „ „ „ „ no - bis # & # Ó „ „ › #w ˙ w ˙ ˙ w no - bis Qui tol - lis pec - ca -w ta munw - diw ## n› . w V w Ó ˙ w ˙ ˙ w w w w ˙. œ œ ˙ œ #˙. œ œ no - bis Qui tol-lis pec - ca - ta mun-di Su - sci - pe ? # # „ ∑ Ó ˙ w ˙ #˙ w w w w ∑ ˙. œ œ ˙. œ ˙. œ œ Qui tol-lis pec - ca - ta mun-di Su - sci-pe ? # # n› w Ó ˙ w ˙ #˙ w w w w w ˙. œ œ ˙. œ ˙. œ œ # 6 # 199 # . w ˙ ˙ & # „ „ ∑ ˙. œ œ ˙ œ ˙. œ œ ˙ ˙ ˙ ˙ Su - sci-pe de - pre - ca - ti - o - nem ## „ & œ œ ˙. œ w w ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ Su˙. - sci - pe su - sci - pe de - pre - ca - ti - o - nem # ˙. œ w › w ˙ ˙ ˙ ˙ ˙ ˙ V # ˙. œ œ œ ˙. œ › su - sci - pe su - sci - pe de - pre - ca - ti - o - nem w œ ˙. œ œ œ nw ˙ ˙ ˙ ˙ n˙ ˙ ? ## w ˙. œ œ ˙. œ ˙. œ œ ˙. œ ˙. su - sci - pe su - sci - pe de - pre - ca - ti - o - nem w œ ˙. œ œ œ nw ˙ ˙ ˙ ˙ n˙ ˙ ? ## w ˙. œ œ ˙. œ ˙. œ œ ˙. œ ˙. 5 5 5 6

205 # # w #w w Ó ˙ ˙ ˙ & w ˙ w ˙ w w w. ˙ w. ˙ no - stram Qui se - des ad de - xte - ram Pa - tris mi - se - re - re ## & w w w Ó ˙ w ˙ ˙ w ˙ ˙ w w w w w no - stram Qui se - des ad de - xte - ram Pa - tris mi - se - rew - re # w ˙ V # w w Ó w ˙ ˙ w ˙ ˙ w w w. ˙ w w no - stram Qui se - des ad de - xte - ram Pa - tris mi - se - re - re › w ˙ #˙ w w w ? ## w Ó ˙ #˙ ˙ #w w w w no - stram Qui se - des ad de - xte - ram Pa - tris mi - se - re - re › w ˙ #˙ w w w ? ## w Ó ˙ #˙ ˙ #w w w w 6

Sunday, July 1 Sacred Music Colloquium 2012 n 231 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 11 212 ## #˙ & › › w. ˙ w w › „ ∑ Ó no - bis Quo - ni - am Tu # # „ „ & w. ˙ #› no› - bis› Quow n˙ ˙ - ni - am # w V # w #w › › w nw w Ó ˙ w w w no - bis Quo - ni - am Tu so - lus San - ctus ? # › w w w w # › . ˙ nw w › Ó ˙ no - bis Quo - ni - am Tu so - lus San - ? # › w w w w # › . ˙ nw w › ˙ ˙ # 6 219 # w w . & # w w w „ Ó #˙ w ˙ œ w ∑ ∑ Ó #˙ so - lus San - ctus Tu so - lus Do - mi - nus Tu ## Ó ∑ ∑ Ó „ & #˙ w w w w #˙ w w ˙. œ w Tu so - lus San - ctus Tu so - lus Do-mi-nus # w ˙. w ˙. V # w ∑ Ó ˙ w œ › ∑ Ó ˙ ˙ ˙ œ w Tu so - lus Do-mi - nus Tu so - lus Al - tis - si-mus w w ? ## w ∑ ∑ Ó ˙ w ˙. œ w „ Ó ˙ ˙ ˙ ˙. œ ctus Tu so - lus Do - mi-nus Tu so - lus Al - tis - si- ? # #˙ w w ˙. w ˙ w ˙. # ˙ ˙ ˙ ˙ ˙ w œ w ˙ ˙ ˙ ˙ ˙ œ 6 # 6 n 226 ## w ˙. & ˙ ˙ œ w w nw w w w w › „ so - lus Al - tis - si-mus Je - su Chri - ste ## & Ó #˙ w ˙ ˙. œ › w „ Tu so - lus˙ Al - tis-si - mus Je -w su Chri› - ste› # V # w ∑ › w w w w › w. ˙ ˙ ˙ n˙ ˙ Je - su Je - su Chri - ste Cum San-cto Spi-ri- ? ## w ∑ ∑ w w nw › w. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ mus Je - su Chri - ste Cum San-cto Spi-ri - tu In glo-ri- w w ? ## ˙ #˙ w w nw › w. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6

232 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 12 233 # & # „ „ „ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Cum San-cto Spi-ri - tu In glo-ri-a De - # # Ó ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œœœ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Cum San-cto Spi - ri - tu In glo - ri - a Cum San-cto Spi-ri - tu In glo-ri - # V # w. ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ w ˙ ˙ ˙ ˙ w tu Cum San-cto Spi-ri - tu In glo-ri - a De - i Pa - ? ## ˙ w ˙ w ˙ ˙ ˙ ˙ w w ∑ „ „ a De - i Pa - tris w ˙ w ˙ ˙ ˙ ˙ w ? ## ˙ w ˙ w ˙ ˙ ˙ ˙ w ˙

239 # w ˙ & # ˙ ˙ w ˙ ˙ w w „ ∑ Ó ˙ ˙ ˙ ˙ i Pa - tris Cum San-cto Spi-ri - ## „ & ˙ w ˙ w ˙ ˙ ˙ #˙ w ˙. œ ˙ ˙ ˙ ˙ ˙ a De - i Pa - tris A - menCum˙ # ˙. œ ˙. V # w ∑ „ Ó ˙ œ ˙ ˙ œ œ #˙ ˙ #˙ #˙ w ˙ tris A - ? # ˙. œ ˙. . # „ „ ∑ ˙ œ ˙ ˙ œ #˙ ˙ ˙ ˙ w A - ? # ˙ w ˙ w ˙ ˙. œ ˙. . # ˙ w ˙ œ ˙ ˙ œ #˙ ˙ ˙ ˙ w 4 3 6 6 # # 6# 7 6 245 # w ˙ ˙ ˙ ˙ w w & # ∑ „ ∑ Ó ˙ ˙ ˙ ˙ ˙ tu Cum San-cto Spi-ri - tu In glo-ri - a De - ## & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ w ˙ ˙ ˙ ˙ w w ˙ ˙ San - cto Spi - ri - tu In glo- ri - a De - i Pa - tris In glo-ri - a De - i Pa - # ˙ ˙ ˙ ˙ V # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w Ó ˙ ˙ ˙ w men CumSan-cto Spi-ri - tu In glo - ri - a De - i Pa - tris In glo - ri - a ? # ˙ ˙ ˙ ˙ # w ∑ „ „ „ ∑ Ó ˙ men In glo - ri - a De - ? # ˙ ˙ ˙ ˙ # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w ˙ ˙

Sunday, July 1 Sacred Music Colloquium 2012 n 233 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 13 251 # ˙. œ ˙. . & # w w #w ∑ ∑ ˙ œ ˙ ˙ œ œ œ ˙ ˙ #œ#œ w i Pa - tris A - # # ∑ „ ˙. & œ œ w ˙ w œ #˙ ˙ œ œ ˙ w › tris A - # ˙ ˙ ˙. œ ˙. w V # w ˙ #˙ œ ˙ ˙ œ œ ˙ ˙. œ w › De - i Pa - tris A - ˙ ˙ ˙. œ ˙. ? ## w w #˙ nœ ˙ ˙. œ ˙ ˙ œ œ ˙ w › i Pa - tris A - ˙ ˙ ˙. œ ˙. ? ## w w #˙ nœ ˙ ˙. œ ˙ ˙ œ œ ˙ w › # 6 6 257 ## & w w ˙ ˙ #w w. ˙ w w ˙ ˙ w w › C men A - #w men ## C & › ˙. œ w w w ˙ ˙ w ˙. œ men A - n˙ ˙ › men› ## ˙. w. V › › œ w ˙ ˙ ˙. œ œ œ › › C men A - men ? # # › w. ˙ w w ˙ ˙ w n› › › C men A - men ? # # › w. ˙ w w ˙ ˙ w n› › › C

234 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 14

Sunday, July 1 Sacred Music Colloquium 2012 n 235 236 n Sacred Music Colloquium 2012 Sunday, July 1 Credo in unum Deum

264 # & # C › w. ˙ nw w w ˙ ˙ w w nw ˙ ˙ › Pa - trem om - ni - po - ten - tem fac - to - rem cae - li et ter - # # C & › w. ˙ w w w ˙ ˙ w. ˙ w ˙ ˙ w w Pa - trem om - ni - po - ten - tem fac - to - rem cae - li et ter - # › w. V # C ˙ w w w ˙ ˙ w w w ˙ n˙ w w Pa - trem om - ni - po - ten - tem fac - to - rem cae - li et ter - rae ? ## C „ „ „ „ „ „ „ ˙ w w w w w ˙ n˙ w w ? ## C › w. w ˙ ˙ 4 3

271 # & # › „ „ „ „ ∑ w rae Et # & # › ˙ ˙ ˙ n˙ ˙ w rae vi - si - bi -œ li-umœ om -œ ni-umœ et˙ in - vi˙ - si˙ - biw - w liw - umw Et ## w V ˙ ˙ ˙ œ œ ˙ œ #œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w. ˙ w vi - si - bi - li - um om - ni - um et in - vi - si - bi ˙ - li - um Et ? # ˙ ˙ w # ˙ œ œ ˙ œ œ ˙ #˙ ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ nw. ˙ w vi - si - bi - li - um om - ni - um et in - vi - si - bi - li - um Et ? # ˙ ˙ w # ˙ œ œ ˙ œ œ ˙ #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ nw. ˙ w # 6b 6b 6 6 6 6 7 6

La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 15

Sunday, July 1 Sacred Music Colloquium 2012 n 237 277 # w w & # ˙ ˙ ˙ ˙ w ˙ #˙ w w w w ˙ ˙ w in u - num Do - mi - num Je - sum Chri - stum Fi - li - um De - i # & # ˙ ˙ ˙ ˙ w ˙ ˙ w w w w w ˙ ˙ w w in u - num Do - mi - num Je - sum Chri - stum Fi - li - um De - i # w ˙ ˙ w w w w w w w V # ˙ ˙ ˙ ˙ ˙ ˙ in u - num Do - mi - num Je - sum Chri - stum Fi - li - um De - i ? # ˙ ˙ ˙ ˙ w ˙ ˙ w # w w w w ˙ ˙ w w in u - num Do - mi - num Je - sum Chri - stum Fi - li - um De - i ? # ˙ ˙ w w w w # w w w w w w w

283 # ˙ ˙ & # w ˙ ˙ w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ ˙ u - ni - ge - ni - tum Et ex Pa - tre na - tum an - te om - ni - a ## & w w w. ˙ › ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ u - ni - ge - ni - tum Et ex Pa - tre na - tum an - te om - ni - a˙ # w. ˙ › V # ˙ ˙ w „ „ „ u - ni - ge - ni - tum ? # „ „ „ # ˙ ˙ w w. ˙ › u - ni - ge - ni - tum ? # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ # ˙ ˙ w w. ˙ › ˙ 6

289 # & # w #w › „ „ ∑ w #w w sae - cu - la De - um ve - ## & „ „ „ w saew. - cu˙ - la› De -w um ## w ˙ ˙ w w V w ˙ ˙ w ˙ ˙ w. ˙ w ∑ De - um de De - o lu - men de lu - mi - ne w w ? ## ∑ #˙ ˙ w w ˙ ˙ w #w w ∑ De - um de De - o lu - men de lu - mi - ne ˙ ˙ w #w w w ˙ ? ## w w ˙ ˙ w #w w ˙ 7 6# 238 n Sacred Music Colloquium 2012 Sunday, July 1 © Sergio Balestracci C. Monteverdi, Messa del 1650 - p. 16 295 ## & w Ó ˙ w w w ˙ ∑ „ rum de De - o ve ˙ › - wro # # Ó ∑ ∑ & ˙ ˙. œ vew - rumw de Dew - ow w ve w - #w row Ge - ni- # ˙. œ w V # „ „ „ ∑ #˙ ˙ w ˙ ˙ Ge - ni - tum non fac - tum con-sub - ˙. œ w ? ## „ „ „ „ #˙ ˙ w Ge - ni-tum non fac - tum w w w w w ˙ ˙. œ w ? ## ˙ ˙ ˙ ˙. œ #w w # 6

301 ## . & ˙ œ #˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w. ˙ w ˙ ˙ Ge - ni - tum non fac - tum con- sub - stan - ti - a - lem Pa -w tri per quem om - ni - a ## & ˙ ˙ w ˙ ˙ . tum non fac - tumw con - sub - stan˙ -˙ ti - a˙ -˙ lem Paw - triw n perw quem˙ n omw - ni˙ - a˙ ## ˙. . V ˙ ˙ œ œ œ ˙ ˙ œ œ œ ˙ ˙. œ œ œ ˙ w w. ˙ w ˙ ˙ stan-ti - a - lem Pa - tri per quem om - ni - a ? # ˙ ˙ ˙ ˙ ˙. œ ˙. # œ œ ˙ œ œ œ ˙ w w nw. ˙ w ˙ ˙ con- sub-stan-ti - a - lem Pa - tri per quem om - ni - a ? # w ˙. # w œ œ œ ˙ ˙. œ œ œ ˙ w nw. ˙ w ˙ ˙ 6 w

307 # # Ó w w #w & w w ˙ ˙ ˙ w. ˙ w w w ˙ ˙ fac -#w ta sunt Qui prop-ter nos ho - mi - nes et prop-ter no - stram sa - ## & Ó ˙ w ˙ ˙ w w w. ˙ w. ˙ w ˙ ˙ facw. -˙ ta suntw Qui prop - ter nos ho - mi - nes et prop - ter no - stram sa - ## w ˙ w w. ˙ w nw V w. ˙ w Ó ˙ ˙ w w ˙ ˙ fac - ta sunt Qui prop-ter nos ho - mi - nes et prop-ter no - stram sa - ? # # w. ˙ w ∑ „ „ „ „ „ fac - ta sunt w. w ? # w ˙ w nw ˙ ˙ # w. ˙ w Ó ˙ w ˙ ˙ w

Sunday, July 1 Sacred Music Colloquium 2012 n 239 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 17 314 # ˙ w & # w w „ „ ∑ Ó w w w w #w › lu-tem de - scen - dit de cae - lis # # ∑ Ó ˙ & ˙ w w w › › luw - temw de - scen-ditw ˙ ˙ de caew. - #˙ lis˙ de- scen - dit de cae - lis ## w ˙ ˙ w w Ó Ó ˙ w ˙ ˙ › › V w ˙ œ œ ˙ w w lu-tem de - scen-dit de - scen - dit de cae - lis de - scen-dit de cae - lis ? # ˙ w w w # ∑ Ó w w ˙ ˙ w ˙ ˙ w w › › de - scen-dit de cae - lis de - scen - dit de cae - lis ? # w ˙ ˙ w w w # w w ˙ ˙ w ˙ ˙ w w › › 6 6 6 7 6 u

322 ## & › w. ˙ w w w. ˙ w ˙ ˙ w w Et in - car - na - tus est de Spi - ri - tu San - cto ## & › w. ˙ w w w. ˙ w ˙ ˙ Et in - car - na - tus est de Spi - ri - tu #Sanw - ctow # › w. ˙ w w. ˙ V # w nw ˙ ˙ w w Et in - car - na - tus est de Spi - ri - tu San - cto ? # w. w w. # › ˙ w ˙ nw ˙ ˙ w w Et in - car - na - tus est de Spi - ri - tu San - cto ? # w. w w. # › ˙ w ˙ nw ˙ ˙ w w

328 # # Ó Ó & w ˙ w w w w w w w w. ˙ ex Ma - ri - a Vir - gi - ne˙ et ho - mo fac - tus # est› ## & Ó w Ó ex Ma˙ - n riw - aw n Virw. - gi˙ - new et˙ how - wmo facw. -˙ tus est› ## V Ó w ˙ w w w w Ó ˙ w w w. ˙ › ex Ma - ri - a Vir - gi - new et ho - mo fac - tus est ? # w w. ˙ # Ó ˙ nw w w. ˙ w Ó ˙ w w › ex Ma - ri - a Vir - gi - ne et ho - mo fac - tus est ? ## Ó w ˙ Ó w w. ˙ nw w w. ˙ w ˙ w u›

240 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 18 335 ## & „ w. ˙ w. ˙ ˙.œ ˙ ˙ w. ˙ ˙ w w w w Ó ˙ Cru - ci - fi - xus e-ti-am pro no ˙ - bis sub # # „ „ „ Ó & w. w. ˙ Cru - ci˙ - fi -˙ xus e˙. -œ ti-˙ am pro n no› - bisw sub˙ # w. w. . ˙ V # #˙ ˙ ˙ œ ˙ nw. ˙ nw. ˙ ˙. œ ˙ n˙ › w Ó ˙ Cru - ci - fi - xus e- ti-am pro no - bis sub ? ## „ „ „ „ „ „ „ „

nw. ˙ nw. ˙ ˙. œ ˙ n˙ › w ˙ ? ## w. #˙ w. ˙ ˙.œ ˙ ˙ . 6 6 6 5 b

343 # # ∑ w & ˙. œ ˙ ˙ w ˙ ˙ › w w w w w w ˙ œ œ w Pon-ti-o Pi - la - to pas - sus et se - pul - ## ∑ & ˙. œ ˙ › w w w w w w w Pon - ti - o˙ Pi - la - # to› pas - sus et sew - pulœ œ - #œ œ ## ˙. œ ˙ n› V ˙ › › › w w w. ˙ › Pon-ti-o Pi - la - to pas - sus et se - pul - tus est ? ## „ „ „ „ „ „ „ „ ˙. œ ˙ ˙ n› › w. ? ## › › w w ˙ u› # 351 # # O3 ∑ „ „ „ „ „ & \ ›. › tus est # # O3 ∑ „ „ „ „ „ & \ › #› tus w est # # O3 › w. ˙ V \ w w w › w w w w #w #w w w nw w w w Et re-sur-re - xit Et re - sur - re - xit ter - ti-a di - e se - cun - dum se - ? # O3 › #w w. ˙ w w #˙ ˙ #˙ ˙ ˙ ˙ ˙ # \ w w w w w w w w ˙ ˙ ˙ ˙ ˙ Et re-sur-re - xit ter - ti-a di - e se - cun-dumscrip-tu - ? # O3 › #w w. ˙ w w #˙ ˙ #˙ ˙ ˙ ˙ ˙ # \ w w w w w w w w ˙ ˙ ˙ ˙ ˙ 6 6# 6# 6 Sunday, July 1 Sacred Music Colloquium 2012 n 241 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 19 358 ## ∑ w. › & „ „ w w ˙ #w #w w. ˙ w w. ˙ w Et a - scendit in cae - lum se - det ad de - xte-ram # # ∑ & w. ˙ › ˙ ˙ ˙ Etw aw - scendit#w in cae - lumw sew. - det˙ adw de-xte-ramw. ˙ w Pa˙ ˙ ˙ ˙ ˙ ˙- ˙ ˙ ˙ # V # ˙ ˙ ˙ ˙ ˙ #˙ #w w w › #w › ∑ „ „ „ cun - dum scrip-tu - ras ? # ˙ # w. ˙ ˙ › w ›. › ∑ „ „ „ ras ? # # w. ˙ ˙ ˙ › w ›. › w w. ˙ w › w ›. 6## 7 6 365 ## ˙ & ˙ ˙ ˙ ˙ ˙ #˙ #˙ ˙ ˙ w › #w › ∑ „ „ „ Pa - tris # & # ∑ ∑ ∑ w. ˙ ˙ ˙ › ›. › w › w w tris› Etw i - te - rum Et # › #w › › › V # ∑ ∑ w w w w › w › w Et i - te - rum ven - tu - rus est cum glo - ri - a Et › #w › › › ? ## „ „ ∑ ∑ w #w #w w Et i - te - rum ven - tu - rus est cum ? # › #w › #w › #w › # › w › #w › w w 6 6

372 # › › & # „ „ „ ∑ ∑ w #w w › w Et i - te - rum ven - tu - rus ## & › #w › #w › #w › w › w › w › w i - te - rum ven - tu - rus est Et i - te - rum ven - tu - rus # w w V # › w › › › w › w › w › w i - te - rum ven - tu - rus est Et i - te - rum ven - tu - rus ? # w. ˙ w › › w w # w w #w › w › w › w glo - ri - a iu - di - ca - re vi - vos Et i - te - rum ven - tu - rus ? # w. ˙ w › › w w # w w #w › w › w › w

242 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 20 379 ## › nw. ˙ n› w & w w › w C w ˙ ˙ w. ˙ › est cum glo - ri - a iu - di - ca - re vi - vos et mor - tu - os # # C & › w. ˙ › w w est cumw glo - ri - aw iu - di - ca› - re viw - vos˙ ˙ et morw. -˙ tu - os› ## C ˙ w › V › w w. ˙ w › w › w w ˙ #w est cum glo - ri - a iu - di - ca - re vi - vos et mor - tu - os ? # › C w ˙ ˙ w. ˙ # w nw. ˙ w n› w › #w › est cum glo - ri - a iu - di - ca - re vi - vos et mor - tu - os ? # › C w ˙ ˙ w. ˙ # w nw. ˙ w n› w › #w ›

386 ## n˙ & Ó w ˙ w ˙ ˙ ˙ ˙ ˙ w w ˙ ˙ ˙ œ œ ˙ ˙ ˙ œ œ ˙ ˙ ˙ ˙ cu - ius re-gni non e - rit fi - nis Et in Spi-ri-tum SanctumDo-mi-num et vi - vi-fi- ## Ó & ˙ w ˙ ˙ ˙ ˙ ˙ ˙ w w ˙ cuw - ius re-gni non e - rit fi#w - nis˙ Et in˙ Spi-ri-tumSanctum˙ #œ œ ˙ Do-mi-num˙ œ œ et˙ vi-˙ # w ˙ ˙ ˙. œ ˙ V # Ó w ˙ n˙ › w ∑ „ „ cu - ius re-gni non e - rit fi - nis ? # # Ó w ˙ w ˙ ˙ w w › w ∑ „ „ cu - ius re-gni non e - rit fi - nis #˙ ˙ ˙ ˙ ? # ˙ ˙ ˙ ˙ ˙ ˙ # Ó w ˙ w ˙ ˙ w w › w b 393 ## & œ œ œ œ œ œ ˙ ˙ #œ#œ w › „ „ „ can - tem ## & w ˙ w ∑ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙ vi - fiw - can› - tem˙ ˙ ˙ qui ex Pa-tre Fi - li-o-que pro- # ˙ w. w V # „ „ ∑ ˙ ˙ ˙ ˙ œ œ ˙ œ œ #˙ qui ex Pa - tre Fi-li-o - que pro - ce - ˙ ˙ œ ˙ ˙ w. ˙ ? ## „ ∑ ˙ ˙ ˙ œ œ œ ˙ w w qui ex Pa-tre Fi - li-o - que pro - ce - w ˙ ˙ w ˙ ˙ œ ˙ ˙ w. ˙ ? ## ˙ ˙ ˙ œ œ œ ˙ w w # 5 6 7 6 Sunday, July 1 Sacred Music Colloquium 2012 n 243 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 21 399 ## ˙ œ œ ˙ œ œ w w & ˙ ˙ ˙. œ › › w w w w QuicumPa-treet Fi - li - o si - mul a - do - # # ˙ & w w ˙ ˙ ˙ œ œ œ œ ˙. œ › › › w ce - dit Qui cum Pa-tre et Fi - li - o si - mul a˙ - do˙ - ra - ## ˙. œ ˙ œ ˙. œ w V ˙ ˙ #˙ w ˙ ˙ ˙ œ › › ˙. œ ˙ dit QuicumPa-tre et Fi - li-o si - mul a -˙ do- ? # w. ˙ ∑ ∑ › # w w › w w dit si - mul a - do - ˙. œ ˙. œ ˙ ? # w. ˙ ˙ ˙ ˙ › # w w › w w 6 7 6

406 # # „ & › › w ∑ „ „ ra - tur ## „ „ ∑ Ó & w › ˙ ˙ ˙ ˙ ˙ w tur et con-glo- ri - fi - # ˙ V # w w ˙. œ ˙ ˙ œ œ ˙ œ œ ˙ ˙ w w w ˙ w ˙ ra - tur si - mul a - do - ra - tur et con - glo - ri - fi - ca - ? # ˙ ˙ œ ˙ ˙ w ˙ ˙ # › w ∑ ˙. œ ˙ œ œ œ ˙ w ra - tur si - mul a - do - ra - tur et con-glo- ri - fi - ca - ? # ˙ ˙ œ ˙ ˙ w ˙ ˙ w # › w ˙ ˙ ˙. œ ˙ œ œ œ ˙ 6 6 6 7 6

412 # w #˙ ˙ & # ˙. œ ˙ ˙ w w ˙ ˙ ˙ ˙ nw ˙ ˙ ˙. œ w qui lo-cu- tus est per pro-phe - tas Et u - nam San - ctam Ca - tho - li - cam ## & ˙ ˙ ˙. œ ˙ ˙ w ˙ ˙ w w Ó ˙ ˙ w ˙ ˙ ˙. œ ca-tur qui lo - cu - tus est per pro-phe - tas˙ Et u-nam San - ctam Ca - tho-li- # w. V # ˙ w w Ó ˙ ˙ ˙ nw ˙ ˙ ˙. œ w ∑ Ó ˙ tur Et u-nam San - ctam Ca - tho - li-cam et ? # w ∑ # „ „ „ ∑ Ó ˙ ˙ ˙ nw tur Et u - nam San - ˙ nw ˙ ˙ . ? # w. ˙ ˙ ˙ œ ˙ # ˙ w w ˙ ˙ ˙ ˙ nw 6 6

244 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 22 418 ## n˙ œ & ∑ Ó ˙ ˙ ˙ . w w ˙. œ ˙. œ œ ˙ w ˙ et A - po - sto - li - cam Ec - cle - si - # & # ˙. ˙. œ Ó ˙ ˙ ˙ ˙ ˙ œ ˙ ˙ w ˙ œ œ ˙ n˙ ˙. œ cam et A - po - sto - li - cam Ec - cle - si - # ˙. œ . V # ˙ ˙ nw w ˙. œ ˙ ˙ n˙ ˙ ˙ œ œ ˙ ˙ ˙. œ A - po - sto - li - cam et A - po - sto - li - cam Ec - cle - si- ? # ˙ . # n˙ ˙ ˙. œ w ∑ Ó ˙ ˙ ˙ n˙. œ œ œ œ œ ˙ ˙ œ ctam Ca - tho - li - cam et A - po - sto - li - cam Ec - cle - si- . ? # ˙ œ ˙ ? ˙ . # n˙ ˙ ˙. œ w ˙ ˙ ˙ n˙. œ œ œ œ œ ˙ ˙ œ b b 423 # #O3 w. ˙ w w. ˙ C & \ › w w › w › w › w › w am Con - fi - te - or u - num bap - ti - sma in re - mis - si - o - nem ## O3 C & \ w w. ˙ w w. ˙ w › w › › › w am› Con - fi - te - or u - num bap - ti - sma in rew - mis - siw - o - nem ##O3 w. ˙ #w w. ˙ w › w › w n› n› V \ › w w w C am Con - fi - te - or u - num bap - ti - sma in re - mis - si - o - nem ? # O3 › # \ ∑ „ „ „ „ „ „ C am w n› w n› ? # O3 › w w. ˙ w w w # \ #w w › w › C

430 # # C O3 › › C & ˙ ˙ w w w ˙. #œ#w \ #w #w › #w › w › w pecca-to - rum Et ex - pec - to re - sur - rec - ti - o - nem # # C O3 C & œ w \ › w › w › w › pecw - caw - to› - rum˙ œ Et ex - pec - to re - sur - rec - tiw - o› - wnem ## C w O3 › w › w › w › › C V w › › \ w w pec - ca - to - rum Et ex - pec - to re - sur - rec - ti - o - nem › › › › ? # C „ „ „ O3 w w w w › w C # \ Et ex - pec - to re - sur - rec - ti - o - nem w › › ? # w › › O3 w w › w › › # C \ w w C

Sunday, July 1 Sacred Music Colloquium 2012 n 245 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 23 438 ## C w nœ & w w › Ó ˙ #˙ ˙ ˙. œ ˙ œ œ œ œ œ #œ œ ˙ mor - tu - o - # rumw Et vi - tam ven - tu - ri sae-cu-li A- # # C Ó & w ˙. œ œ œ œ n mor-tu˙ ˙ - ow ˙ œ- œ w rum› Et˙ vi - tam˙ ˙ ven-tu -œ ri sae˙ -œ cu - liœ A - ## C „ „ „ V ˙. œ œ ˙ › › mor - tu˙ - o - rum ? # # C w w n› › „ „ „ mor - tu - o - rum ˙. œ ? # w ˙ # C w w n› › Ó ˙ ˙ ˙ ˙. œ ˙ 6b 6 7 6

444 # # œ & œ œ nœ œ œ ˙ ˙ œ ∑ „ „ „ œ w wmen ## ∑ „ „ „ & œ œ œ œ œ ˙ œ œ œ w #˙ menw # w ˙. œ œœ œ œ œ œ V # „ „ Ó ˙ ˙ ˙ œ ˙ œ œ œ œ ˙ œ Et vi - tam ven-tu - ri sae-cu-li A - w w œ œ œ ? ## „ ∑ Ó ˙ #˙ ˙ ˙ ˙ ˙. œ ˙ œ œ œ œ œ ˙ Et vi - tam Et vi - tam ven - tu - ri sae-cu-li A- w ˙. œ w w w œ œ œ ? ## ˙ ˙ #˙ ˙ ˙ ˙ ˙. œ ˙ œ œ œ œ œ ˙ # 450 # # „ Ó w „ ∑ Ó ˙ w ˙ & ˙ #˙ ˙ w w ∑ ˙ Et vi - tamven-tu - ri Et vi - tam ven- # # „ ∑ Ó Ó w & w w w ˙ w ˙ Et˙ vi - tam˙ ˙ ven - tu - riw Et˙ vi - tam ventu˙ - ri˙ Et vi - ## V œœw œœ › w Ó ˙ w #˙ ˙ w ˙ ˙ w #w „ men Et vi - tam ven - tu - ri Et vi - tam ? # œœœœ # œœ˙ ˙ #œ œ w w ∑ Ó˙ w ˙ ˙ w w ∑ „ men Et vi - tamven-tu - ri ˙ ? # œœœœ ˙ ˙ #w ˙ w # œœ˙ ˙ #œ œ w w ˙˙ w ˙ ˙ w w n 6 246 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 24 457 ## ˙. œ œ œœ œ œ ˙ œ œ œ œ œ œ œ & ˙ œ œ œ œ œ ˙ œ ˙ œ œ w #˙ ˙ ˙. œ ˙ œ œ tu - ri sae-cu-li A - menEt vi - tamven-tu - ri sae-cu-li # # œ & ˙ ˙. œ ˙ œ œ œ œœ œ œ ˙ œ œ œ œ œ ˙ œ œ œ œ w tamven-tu˙ - ri sae - cu-li A - œ ˙ menEtœ œ vi - tam˙ ven-tu˙ ˙. - riœ # w . V # „ „ Ó ˙ ˙ ˙ ˙ œ ˙ œ œ œœ œ œ œ œ˙ œ#œ œ œ Et vi - tamventu - ri saecu- li A - w ˙ œ ? ## „ „ ∑ Ó ˙ ˙ ˙ . œ ˙ œ œ œ œ œ œ œ ˙ Et vi - tamven - tu - ri sae-culi A- ˙ w ˙ ˙ w ˙ œ ? ## ˙ ˙ . œ ˙ ˙ ˙ ˙ ˙ ˙ . œ ˙ œ œ œ œ œ œ œ ˙ 6

463 ## & œ œœ œ œ ˙ œ œ œ œ w. œ œ w › w w › › C A œ œ œ ˙ - #˙ ˙ men # & # C œ œœ nœ nw nw. sae-cu-li˙ œ œ A œ œ œ ˙ œ œ œ œ-œ ˙ › ›men A-˙.#œ˙ ˙ œ œ men› ## n˙. œ˙ V œ œ˙ œ œœœ œ œ ˙ œ œ œ œ œ w ˙ ˙ ˙ w › ˙ w. œ œ #› C œ men A- men ? # œ œœ œ › C # œ œ œ˙ œ œ œ œ œ ˙ n˙. œ w › n˙. œ ˙ ˙ w. #˙ › men ? # œ œœ œ › C # œ œ œ˙ œ œ œ œ œ ˙ n˙. œ w › n˙. œ ˙ ˙ w. #˙ › b 3 4 b

Sunday, July 1 Sacred Music Colloquium 2012 n 247 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 25 248 n Sacred Music Colloquium 2012 Sunday, July 1 Sunday, July 1 Sacred Music Colloquium 2012 n 249 250 n Sacred Music Colloquium 2012 Sunday, July 1 Sunday, July 1 Sacred Music Colloquium 2012 n 251 252 n Sacred Music Colloquium 2012 Sunday, July 1 Sunday, July 1 Sacred Music Colloquium 2012 n 253 Sanctus

471 # & # C „ „ „ „ „ „ „ # & # C „ „ „ „ „ „ „

## V C „ „ › w w w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ #œ San - ctus San - ? # # C › w w w Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ#œ œ œ #˙ w ˙ w w San - ctus San - ? # # C › w w w w ˙ ˙ ˙ ˙ ˙ ˙ œ#œ œ œ #˙ w ˙ w w 6

478 # # „ „ & › w w w. ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ San - ctus San - ## & › Ó ˙ w w. San w- w ctusw San˙ ˙ ˙ ˙ ˙ ˙ w -#˙ ˙ ˙ ## w w w Ó ˙ V #˙ ˙ w › w w ˙. œ ˙ ˙ w w ctus San - ? # # › w ∑ „ „ „ „ „ ctus w w ? # ˙ › w w ˙. œ ˙ w w # › w ˙ ˙ 6 7 6 6# 7 6

La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 26

254 n Sacred Music Colloquium 2012 Sunday, July 1 485 ## & #˙ w ˙ w w w w ∑ w w w ˙ w #˙ w Ó ˙ ctus San - ctus San- # # ∑ ∑ Ó œ œ œ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ w ˙ œ#œ œ œ œ ˙ ˙ w ctus˙ San - ctus San - # ˙ w ˙ w V # ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ w #w ctus San - ctus ? # w w w w # „ „ ∑ Ó ˙ w w w ∑ San - ctus San - ctus ˙ w ? # ˙ ˙ ˙ ˙ ˙ ˙ ˙ w w w #w # w ˙ ˙ w w w 6 5 7 6 5 6 7 6

492 # ˙ w ˙ & # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ w ˙ ˙ w w w „ ctusSan - ctus ## ∑ „ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ œ œ ˙ ˙ ˙ ˙ w w w ˙ ˙ ˙ ctus San - ctus ## ˙ w w V „ Ó ˙ w w w ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ San - ctus San - › ? ## „ ∑ Ó ˙ w w ∑ Ó˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ San - ctus San - ˙ ˙ ˙ › ˙ ˙ ˙ ? ## ˙ ˙ ˙ ˙ ˙ w w ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 6

499 # ˙ ˙ w ˙ & # ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙ n˙ w w ∑ „ San - ctus ## & Ó ˙ ˙ ˙ ˙ ˙ ˙ w ˙ w ∑ ∑ w ∑ „ San˙ ˙- ctus San - ctusw # w w ˙. ˙ V # w w w ∑ Ó ˙ ˙. œ œ œ œ œ #˙ w ˙ w œ ˙ ctus San - ctus San-ctus Do-mi-nusDe - ? # w. ˙ ˙ w w › w w ˙. œ # w ˙ › w ctus San - ctus San - ctus Do - mi- ? # w. ˙ ˙ w w › › w w ˙. œ # w ˙ w 3 4 3

Sunday, July 1 Sacred Music Colloquium 2012 n 255 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 27 506 ## & „ „ w w ˙. œ ˙ ˙ ˙ œ œ w ˙ ˙ ˙. œ ∑ San-ctus Do-mi-nusDe - us Sa - ba - othw # # „ ∑ & w ˙ San - ctusw w San - ctusw ˙ Do. -œ mi-˙nusw Deœ -œ ˙ us˙ Sa˙. - baœ - oth˙ Ple-ni˙ ˙ sunt # ˙ V # œ œ w ˙ ˙ ˙. œ w ∑ „ „ „ › us Sa - ba - oth Ple - w ˙ ˙. w › ? ## ˙ œ œ ˙ #œ ∑ „ „ „ nus De - us Sa - ba - oth Ple - w ˙ ˙. w w w ˙. œ ˙ w œ œ ˙ ˙ w › ? ## ˙ œ œ ˙ #œ

513 ## ˙ n˙ & „ Ó ˙ ˙ ˙ w ˙ w w œ œ œ œ ˙ ˙ Ple - ni sunt cae - li et˙ ter - ra glo -˙ ˙ ri - a Ple - ni sunt ## & ˙ ˙ w ˙ w. w ˙ w. ˙ œ œ œ œ ˙ ˙ ˙ ˙ cae - li˙ et ter - ra glo -˙ ri˙ - a Ple - ni sunt cae - li et ter - ra ## › w V › w w w ˙ ˙ › w ni Ple - ni sunt cae - li et ter - ra Ple - w w ? ## w ˙ ˙ › w w w w nw ˙ ˙ ni sunt cae - li et ter - ra Ple - ni sunt cae - li et w w ? ## w ˙ ˙ › w w w w nw ˙ ˙

519 ## w & ˙ ˙ nw w œ nœ œ œ œ œ œ œ ˙ œ œ ˙ ˙ w ∑ „ cae - li et ter - ra glo - ri-a tu - a ## & œ œ œ œ w. ∑ „ glo -˙ ri˙ - a œ nœ › tu› - aw ## w w ˙ ˙ V nw ˙ ˙ ˙ ˙ w ˙ ˙ w w. ˙ ˙ ˙ ni sunt cae - li et ter - ra glo - ri-a tu - a Ho - san - na in ex- ? # w. ˙ ˙ #˙ ˙ #˙ # › › w ˙ ˙ › ter - ra glo - ri - a tu - a Ho - san - na in ex- ? # w. ˙ ˙ #˙ ˙ #˙ # › › w ˙ ˙ › b 256 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 28 525 ## ˙ w ˙ & ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙. œ Ho - san-na in ex - cel - # # „ ∑ Ó & ˙ ˙ ˙ ˙ ˙ œ ˙. œ › Ho˙ - san-na in˙ ex - cel ˙ ˙ ˙. - # w w ˙ V # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ Ó cel - ˙ sis Ho- ˙ ˙ › w. ˙ ? ## #˙ ˙ › › › cel - sis Ho- ˙ ˙ › w. ˙ ? ## #˙ ˙ › › ›

531 # & # › ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › #˙. œ w sis Ho - san-na in ex - cel - sis ## ∑ „ ∑ Ó & w ˙ ˙ ˙ ˙ ˙ ˙ w ˙ › sis Ho - san-na in ex - cel - sis # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w V # ˙ ˙ w ˙. œ #˙ san-na in ex - cel - sis˙ Ho - ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › › ? ## › › san-na in ex - cel - sis ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › › › ? ## ›

537 # # O3 #w › #w › w › w › w n› w n› C n› › C & \ #› Ho-san - na in ex - cel - sis in ex - cel - sis in ex - cel - sis # # O3 C C & \ w › w › w › w › › › w w w › Ho - san - na in ex - cel - sis in exw - cel - sisw in ex-cel# -w sis ## O3 › › C C V \ w w › › › w ›. › › › san - na in ex - cel - sisw inw ex - cel - sis in ex - cel - sis ? # O › › C › C # 3 w w w › w › w n› w n› › › \ Ho-san - na in ex - cel - sis in ex - cel - sis in ex - cel - sis ? # O3 › › › › C › C # \ w w w w w n› w n› › ›

Sunday, July 1 Sacred Music Colloquium 2012 n 257 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 29 546 ## C . „ & „ w ˙ w ˙ ˙ w ˙ ˙ ˙ œ œ ˙ ˙ › Be - ne - dic - tus qui ve - nit in no-mi-ne Do-mi - ni # # C „ & w. ˙ w ˙ ˙ w ˙ w ˙ w. ˙ Be - ne - dic - tus qui ve - nit#˙ in no - mi - ne˙ Do - mi - #ni› # w. w ˙ w. V # C #˙ ˙ w ˙ ˙ nw ˙ ˙ nw. ˙ › ˙ Be - ne - dic - tus qui ve - nit in no - mi-ne Do - mi - ni Be - ne - w. #˙ ? ## C „ „ „ „ „ „ Be - ne - ? # n˙ ˙ nw w › w. #˙ # C w. #˙ w ˙ ˙ w ˙ ˙ nw

553 # & # „ „ „ „ „ w. ˙ Be - ne - ## & w. ˙ w ˙ œ w w. ˙ Be - ne - dic - tus˙ qui vew - nit˙ in˙ no-mi-ne˙ œ œ Do-mi˙ ˙ - ni˙. œ Be - ne - # ˙ V # w ˙ ˙ w ˙ ˙ w ˙ ˙ w. ˙ #› ˙. œ#œ ˙ dic - tus qui ve - nit in no - mi - ne Do - mi - ni Be - ne - ? # w ˙ #˙ w ˙ w ˙ w. ˙ # ˙ ˙ › w. ˙ dic - tus qui ve - nit in no - mi - ne Do - mi - ni Be - ne - ? # w ˙ #˙ w ˙ w ˙ w. ˙ # ˙ ˙ › w. ˙ # 559 # # „ & w ˙ ˙ w ˙ ˙ w ˙ ˙ ˙. œ ˙ ˙ ∑ dic - tus qui ve - nit in no - mi - ne Do - mi - # niw # # „ & w ˙ ˙ w ˙ ˙ w ˙ ˙ ˙. œ ˙ ˙ w ∑ dic - tus qui ve - nit in no - mi - ne Do - mi - ni # w ˙ ˙ V # ˙ w ˙ w ˙ ˙ nœ œ w ˙ w Ó ˙ ˙ ˙ ˙ ˙ dic - tus qui ve - nit in no - mi - ne Do - mi - ni Ho - san - na in ex - ? # ˙ #˙ ˙ #˙ # w ˙ ˙ w ˙ ˙ w ˙ ˙ nw. ˙ w Ó ˙ dic - tus qui ve - nit in no - mi - ne Do - mi - ni Ho - san - na in ex - ? # ˙ #˙ ˙ #˙ # w ˙ ˙ w ˙ ˙ w ˙ ˙ nw. ˙ w Ó ˙

258 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 30 565 ## ∑ Ó ˙ ˙ œ ˙ w ˙ & ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ ˙. Ho - san-na in ex - cel-sis in ex - cel - ## & „ ∑ ˙ ˙ ˙ ˙ ˙ œ ˙. œ › How - san-na in˙ ex - cel-sis˙ in ex˙ - cel˙. - # w ˙ V # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ w Ó cel - sis in ex - cel - ˙ sis Ho- ˙ ˙ w. ˙ ? ## #˙ ˙ › › › › cel - sis in ex - cel - sis Ho- ˙ ˙ w. ˙ ? ## #˙ ˙ › › › ›

571 # & # › ∑ Ó ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › #˙. œ w sis Ho - san-na in ex - cel - sis # # „ ∑ Ó & w ∑ ˙ ˙ ˙ ˙ ˙ ˙ w ˙ › sis Ho - san-na in ex - cel - sis # ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ V # ˙ ˙ ˙ ˙ ˙ ˙ w w ˙. œ #˙ san-na in ex - cel - sis˙ Ho- ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › › ? ## › › san-na in ex - cel - sis ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ › › ? ## › ›

577 ##O3 #w › #w › w › w › n› n› n› & \ w w C › #› C Ho-san - na in ex - cel - sis in ex - cel - sis in ex - cel - sis # #O3 C C & \ w › w › w › w › › › w w w › Ho-san - na in ex - cel - sis in exw - cel - sisw in ex-cel# -w sis # #O3 C C V \ › w › w › › › w ›. › › › san - na in ex - cel -w sis in exw - cel - sis in ex - cel - sis ? # O › › C › C # 3 w w w › w › w n› w n› › › \ Ho-san - na in ex - cel - sis in ex - cel - sis in ex - cel - sis ? # O3 › › › › C › C # \ w w w w w n› w n› › ›

Sunday, July 1 Sacred Music Colloquium 2012 n 259 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 31 Agnus Dei

586 # & # C „ „ „ „ „ „ „ # # C „ „ Ó & › w ˙ ˙ A- ›gnus De› - wi qui˙ tol - lis qui # › › ˙ œ ˙ . V # C › w Ó ˙ œ ˙ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ A- gnus De - i qui tol-lis pec-ca-ta mun - › › ? ## C „ „ „ „ „ A- gnus ? # › › # C › › › w. ˙ ›

593 # › & # „ „ › › › A- gnus De - i ## & ˙ œ œ ˙ ˙ ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ w. ˙ w w Ó tol-lis pec-ca-ta mun - wdi qui˙ # ˙ w w w w. V # ˙ #w w ˙ œ œ ˙ ˙ œ œ œ œ œ œ œ œ ˙ di qui tol-lis pec-ca-ta mun - ˙ œ œ ˙ ˙. œ œ œ œ ? ## › › ∑ w ˙ œ œ œ œ œ œ œ œ œ De - i qui tol-lis pec-ca-ta mun - ˙ œ œ ˙ ˙. œ œ œ œ ? ## › › w w ˙ œ œ œ œ œ œ œ œ œ 7 6

La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 32

260 n Sacred Music Colloquium 2012 Sunday, July 1 599 ## & ∑ Ó ˙ ˙ œ œ ˙ ˙ ˙. œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ œ œ ˙ ˙ w qui tol-lis pec-ca-ta mun - œ # # ∑ ∑ Ó & ˙ œ œ ˙ ˙. œ œ w w w tol-lis pec-ca-ta˙ mun œ œ œ ˙ ˙ - w di qui˙ # V # ˙ ˙ w › „ „ › › di A- gnus ? # #˙ w n˙ › . # ˙ œ ˙ ˙ › › ∑ di ? # #˙ w n˙ › . w # ˙ œ ˙ ˙ › › w

605 # & # w #w w Ó ˙ ˙ œ œ ˙ ˙ ˙. œ˙˙ œ œ œ œ œ œ œ œ ˙ ˙ w di qui tol - lis pec-ca - ta mun - # & # ∑ Ó w ˙ ˙ œ œ ˙ ˙. œ œ ˙ ˙ tol-lis pec-ca-ta˙ mun œ œ œ œ œ œ œ- œ œ œ œ w diw qui tol - lis qui # # „ V › › ∑ Ó ˙ œ œ ˙ ˙ ˙. œ œ œ œ De - i qui˙ tol-lis pec-ca-ta mun - œ w ? ## ∑ Ó ˙ w › › › › qui tol - lis A- gnus De - i w ˙ w ? ## ˙ w › › › ›

611 # ˙ œ ˙ . & # w w w Ó ˙ œ n˙ ˙ nœ ˙ ˙ › w ∑ „ di qui tol-lis pec-ca - ta mun - di # # „ & ˙ œ œ ˙ ˙ w ˙ ˙ ˙ œ œ ˙ ˙ tol-lis pec-ca-ta mun-di qui tol-lis pec-ca - ta mun› - › di› # # w V w ˙ ˙ w ˙ ˙ ˙ œ œ ˙ ˙ ˙ w w w w w w di qui tol - lis qui tol-lis pec-ca - ta mun˙ - di mi - se - re - re ? # w w w w # ∑ Ó ˙ w ˙ ˙ n˙ œ œ ˙ ˙ ˙. œ ˙ ˙ w w qui tol - lis qui tol-lis pec-ca - ta mun - di mi - se - re - re ? # w ˙ w w w w # ˙ w ˙ ˙ n˙ œ œ ˙ ˙ ˙. œ ˙ ˙ w w

Sunday, July 1 Sacred Music Colloquium 2012 n 261 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 33 618 ## „ . & „ „ „ „ „ ˙ œ ˙ ˙ mi - se - ## & w w ˙. œ mi -w se - re - rew n miw - sew - n rew - rew w now w - w bisw mi - ## V w w w w w w w w w ˙ › w ∑ mi - se - re - re mi - se - re - re no ˙ - bis ? # # w w w #w w #w w #w w n˙ ˙ n› w ∑ mi - se - re - re mi - se - re - re no - bis ? # # w w w #w w #w w #w w n˙ ˙ n› w ˙. œ

625 # # w w & ˙. œ ˙ ˙. œ w w w w w #w w re - re˙ no - bis mi - se - re - re mi - se - re - # & # ˙ ˙. œ n˙. w #w w w w w se˙ - re - ˙ ˙re noœ w - bisw mi - se - re - re mi - se - ## . V ∑ ˙ œ ˙ ˙ ˙. œ ˙ ˙. œ w w ∑ w w mi - se - re - re˙ no - bis mi - se - ? # ˙. . # „ œ n˙ ˙ ˙ œ ˙ ˙ nw w „ „ mi - se - re - re no - bis ˙ w ? # ˙ . œ ˙. . w w # ˙ œ n˙ ˙ ˙ œ ˙ ˙ nw w w

631 ## & w w w ˙. œ ˙ ˙ w w w w ˙. œ re mi - se - re - re now - wbis mi - se - re - re mi - se- # & # w w ˙. œ n˙. w w w ˙. œ re - rew mi - se-re˙ - re˙ noœ -w wbis mi - se - re - re no - ## . ˙. œ n˙. V w w ˙ œ ˙ ˙ œ œ w ˙ › ˙ ˙ œ œ œ ˙ re - re mi - se-re - re no - bis mi - se-re - re no - ? # w ˙. # ∑ w œ n˙ ˙ w w ∑ ∑ ∑ mi - se - re - re no - bis w ˙. œ ˙ n˙. œ ? # w ˙. w ˙ œ œ ˙ # w œ nw w w

262 n Sacred Music Colloquium 2012 Sunday, July 1 La Stagione Armonica C. Monteverdi, Messa del 1650 - p. 34 637 ## ∑ . & ˙ ˙. œ œ ˙ w „ „ ˙ œ ˙ ˙ w re - re˙ no - œ bis mi - se - re - re no - # & # „ ˙ ˙. œ œ ˙ w ˙. œ ˙ ˙. œ ˙ ˙. œ œ ˙ ˙ œ bis mi - se-re - re˙ mi - se-re - re˙ no - œ # . V # w ∑ ∑ w w w w ∑ ˙ œ ˙ ˙ w. #˙ bis mi - se - re - re mi - se-re - re no - w #w w ˙. ? ## „ ∑ #w nœ ˙ ˙ ˙. œ œ œ ˙ w mi - se - re - re mi - se - re - re no - w w w w #w w ˙. ? ## #w nœ ˙ ˙ ˙. œ œ œ ˙ w

643 ## . & w w w w w ∑ ˙ œ ˙ ˙ ˙. œ œ œ ˙ ˙ › bis mi - se - re - re mi-se - re-re no - #œ œ w bis ## & w w ˙. œ w ˙ # bisw mi - # sew - re - rew mi - se - re-re˙ ˙ no ˙ nw - › bis› ## . n˙ ˙ V › Ó ˙ œ ˙ ˙ ˙. œ ˙ ˙ w ˙ ˙ ˙ › › bis mi - se - re - re mi - se - re - re no - bis ? # w w . › # w w w ˙ œ ˙ ˙ n˙. œ › › bis mi - se - re - re mi - se - re-re no - bis ? # w w . › # w w w ˙ œ ˙ ˙ n˙. œ › ›

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Sunday, July 1 Sacred Music Colloquium 2012 n 267 268 n Sacred Music Colloquium 2012 Sunday, July 1 Sunday, July 1 Sacred Music Colloquium 2012 n 269 270 n Sacred Music Colloquium 2012 Sunday, July 1 Appendix

Brouwers Advanced Chant Seminar

Propers for the Requiem Mass

Propers for the Solemnity of Sts. Peter and Paul

Veni Creator Spiritus

Prayer for Religious Liberty

Appendix Sacred Music Colloquium 2012 n 271 272 n Sacred Music Colloquium 2012 Brouwers Advanced Chant Seminar Brouwers Advanced Chant Seminar Sacred Music Colloquium 2012 n 273 274 n Sacred Music Colloquium 2012 Brouwers Advanced Chant Seminar Brouwers Advanced Chant Seminar Sacred Music Colloquium 2012 n 275 276 n Sacred Music Colloquium 2012 Brouwers Advanced Chant Seminar Requiem Mass In Missis Quotidianis Defunctorum

INTROIT

REQUIEM aeternam dona eis, Domine: et lux perpetua luceat eis. Ps 64:2-3. Te decet hymnus Deus in Sion; et tibi reddetur votum in Jerusalem: exaudi orationem meam, ad te omnis caro veniet. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis.

ETERNAL rest give unto them, O Lord; and let perpetual light shine upon them. Ps. A hymn, O God, becometh Thee in Sion; and a vow shall be paid to Thee in Jerusalem: hear my prayer; all flesh shall come to Thee. Eternal rest give unto them, O Lord; and let perpetual light shine upon them.

COLLECT

Oremus/Let us pray.

DEUS, cui proprium est misereri semper et parcere: propitiare animabus famulorum famularumque tuarum, et omnia eorum peccata dimitte; ut, mortalitatis vinculis absolutae, transire mereantur ad vitam. Per Dominum nostrum Jesum Christum filium tuum, qui tecum vivit et regnat in unitate Spiritus Sancti, Deus, per omnia saecula saeculorum. R. Amen.

O GOD, whose property is ever to have mercy and to spare; have mercy on the souls of Thy servants and handmaids, and grant them the remission of all their sins; that being delivered from the bonds of mortality, they may be found worthy to enter into life. Through Our Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee in the unity of the Holy Ghost, God world without end. R. Amen.

THE EPISTLE (Apocalypse 14:13)

Lectio libri Apocalypsis beati Joannis Apostoli In diebus illis: Audivi vocem de caelo, dicentem mihi: Scribe: Beati mortui, qui in Domino moriuntur. Amodo jam dicit Spiritus, ut requiescant a laboribus suis: opera enim illorum sequuntur illos. R: Deo gratias.

A lesson from the book of Apocalypse of Blessed John the Apostle In those days: I heard a voice from Heaven, saying to me: Write, blessed are the dead who die in the Lord, from henceforth now, saith the Spirit, that they may rest from their labors, for their works follow them. R: Thanks be to God.

THE GRADUAL (4 Esdras 2:34-35)

REQUIEM aeternam dona eis, Domine: et lux perpetua luceat eis. Ps 111:7. In memoria aeterna erit justus; ab auditione mala non timebit.

ETERNAL rest give to them, O Lord; and let perpetual light shine upon them. The just shall be in everlasting remembrance; he shall not fear the evil hearing.

Propers for the Requiem Mass Sacred Music Colloquium 2012 n 277 THE TRACT

ABSOLVE, Domine, animas omnium fidelium defunctorum ab omni vinculo delictorum: V. Et gratia tua illis succurrente, mereantur evadere judicium ultionis: V. Et lucis aeternae beatitudine perfrui.

ABSOLVE, O Lord, the souls of all the faithful departed from every bond of sin. V. And by the help of Thy grace may they be enabled to escape the avenging judgement. V. And enjoy the bliss of everlasting light.

THE SEQUENCE

DIES irae, dies illa, Solvet saeclum in favilla, Teste David cum Sibylla. Quando tremor est futurus, Quando judex est venturus, Cuncta stricte discussurus. Tuba mirum spargens sonum Per sepulcra regionum, Coget omnes ante thronum. Mors stupebit, et natura, Cum resurget creatura, Judicanti responsura. Liber scriptus proferetur, In quo totum continetur, Unde mundus judicetur. Judex ergo cum sedebit, Quidquid latet, apparebit; Nil inultum remanebit. Quid sum miser tunc dicturus? Quem patronum rogaturus, Cum vix justus sit securus? Rex tremendae majestatis, Qui salvandos salvas gratis, Salva me, fons pietatis. Recordare, Jesu pie, Quod sum causa tuae viae; Ne me perdas illa die. Quaerens me, sedisti lassus; Redemisti crucem passus; Tantus labor non sit casus. Juste judex ultionis, Donum fac remissionis Ante diem rationis. Ingemisco tamquam reus; Culpa rubet vultus meus; Supplicanti parce, Deus. Qui Mariam absolvisti, Et latronem exaudisti, Mihi quoque spem dedisti. Preces meae non sunt dignae; Sed tu bonus fac benigne, Ne perenni cremer igne. Inter oves locum praesta, Et ab haedis me sequestra, Statuens in parte dextra. Confutatis maledictis, Flammis acribus addictis, Voca me cum benedictis. Oro supplex et acclinis, Cor contritum quasi cinis. Gere curam mei finis. Lacrimosa dies illa, Qua resurget ex favilla Judicandus homo reus. Huic ergo parce, Deus; Pie Jesu Domine, Dona eis requiem. Amen.

THE day of wrath, that dreadful day, Shall all the world in ashes lay, As David and the Sibyl say. What tremor shall the soul affright, When comes that Judge whose searching light Brings thought and word and deed to light. The last loud trumpet’s spreading tone Shall through the place of tombs be blown, To summon all before the throne. Death is struck, and nature quaking, All creation is awaking To its Judge an answer making. The written book shall be outspread, And all that it contains be read, To try the living and the dead. Then shall the Judge His throne attain, And every secret sin arraign, Till nothing unavenged remain. What shall my guilty conscience plead, And who for me will intercede, When even saints forgiveness need? King of tremendous majesty! Who savest whom Thou savest, free, Thou fount of pity, save Thou me. Remember, Jesus Lord, I pray, For me Thou walked’st on life’s way; Confound me not on this last day. Twas me Thy weary footsepts sought, My ransom on the Cross was bought, Let not such labour come to naught. Just Judge of recompense, I pray, Cancel my debt, too great to pay, Before the last accounting day. My groans a culprit’s heart declare, My cheeks shame’s burning livery wear, Spare me, O God,

278 n Sacred Music Colloquium 2012 Propers for the Requiem Mass Thy suppliant spare! As Thou didst Mary’s sin efface, And take the thief to Thine embrace, So dost Thou give me hope of grace. Though all unworthy be my cry, Give grace, O gracious Lord, or I Shall burn in fires that never die? Grant me among Thy sheep to stand; From outcast goats my soul disband, And raise me to Thine own right hand. When cursed foes are put to shame, And given o’er to biting flame, Ah! with Thy blessed call my name. Prostrate, my contrite heart I rend; My God, my Father, and my Friend, Do not forsake me in the end. O day of weeping, day of woe, When rising from his pyre below, The sinner to his Judge shall cry, “Spare me, Thou mighty God on high!” Ah, gentle Jesu, Saviour blest, Grant to them all eternal rest!. Amen.

THE GOSPEL (John 6:51-55)

+ Sequentia sancti Evangelii secundum Joannem. R: Gloria tibi, Domine. In illo tempore: Dixit Jesus turbis Judaeorum: Ego sum panis vivus, qui de caelo descendi. Si quis manducaverit ex hoc pane, vivet in aeternum: et panis, quem ego dabo, caro mea est pro mundi vita. Litigabant ergo Judaei ad invicem, dicentes: Quomodo potest hic nobis carnem suam dare ad manducandum? Dixit ergo eis Jesus: Amen, amen dico vobis: nisi manducaveritis carnem Filii hominis, et biberitis ejus sanguinem, non habebitis vitam in vobis. Qui manducat meam carnem, et bibit meum sanguinem, habet vitam aeternam: et ego resuscitabo eum in novissimo die.

+ The continuation of the holy Gospel according to St. John. R: Glory be to Thee, O Lord. At that time: Jesus said to the multitudes of the Jews: I am the living bread which came down from heaven. If any man eat of this bread, he shall live for ever; and the bread that I will give, is My flesh, for the life of the world. The Jews therefore strove among themselves, saying: How can this man give us His flesh to eat? Then Jesus said to them: Amen, amen I say unto you: Except you eat the flesh of the Son of man, and drink His blood, you shall not have life in you. He that eateth My flesh, and drinketh My blood, hath everlasting life: and I will raise him up in the last day.

After the Gospel the priest neither kisses the book nor says the “Per evangelica dicta.” The server says nothing.

THE OFFERTORY

Oremus/Let us pray.

DOMINE Jesu Christe, Rex gloriae, libera animas omnium fidelium defunctorum de poenis inferni, et de profundo lacu: libera eas de ore leonis, ne absorbeat eas tartarus, ne cadant in obscurum; sed signifer sanctus Michael repraesentet eas in lucem sanctam: Quam olim Abrahae promisisti et semini ejus. V. Hostias et preces tibi, Domine, laudis offerimus: tu suscipe pro animabus illis, quarum hodie memoriam facimus: fac eas, Domine, de morte transire ad vitam. Quam olim Abrahae promisisti et semini ejus.

LORD Jesus Christ, King of glory, deliver the souls of all the faithful departed from the pains

Propers for the Requiem Mass Sacred Music Colloquium 2012 n 279 of hell and from the bottomless pit: deliver them from the lion’s mouth, that hell swallow them not up, that they fall not into darkness, but let the standard-bearer holy Michael lead them into that holy light; which Thou didst promise of old to Abraham and to his seed. V. We offer to Thee, O Lord, sacrifices and prayers: do Thou receive them on behalf of those souls of whom we make memorial this day. Grant them, O Lord, to pass from death to that life; which Thou didst promise of old to Abraham and to his seed.

THE SECRET PRAYER

Annue nobis, quaesumus, Domine, ut animabus famulorum famularumque tuarum haec prosit oblation: quam immolando, totius mundi tribuisti relaxari delicta. Per Dominum nostrum Jesum Christum filium tuum, qui tecum vivit et regnat in unitate Spiritus Sancti, Deus, per omnia saecula saeculorum. R. Amen.

Hear us, O Lord, we beseech Thee, and let the souls of Thy servants and handmaids profit by this sacrifice, by the offering of which Thou didst grant that the sins of the whole world should be loosed. Through Our Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee in the unity of the Holy Ghost, God world without end. R. Amen.

THE COMMUNION ANTIPHON

LUX aeterna luceat eis, Domine: Cum Sanctis tuis in aeternum: quia pius es. V. Requiem aeternam dona eis, Domine: et lux perpetua luceat eis. Cum Sanctis tuis in aeternum: quia pius es.

MAY light eternal shine upon them, O Lord, with Thy Saints for evermore, for Thou art gracious. V. Eternal rest give to them, O Lord; and let perpetual light shine upon them: With Thy Saints for evermore, for Thou art gracious.

THE POST-COMMUNION PRAYER

Deus, cui soli competit medicinam praestare post mortem: praesta, quaesumus; ut animae famulorum famularumque tuarum, terrenis exutae contagiis, in tuae redemptionis parte numerentur. Qui vivis et regnas cum Deo Patre in unitate Spiritus Sancti, Deus, per omnia saecula saeculorum. R. Amen.

O God, who alone canst give a remedy after death; grant, we beseech Thee, that the souls of Thy servants and handmaids may be rid of earthly contagion and be counted amongst Thy redeemed.

Thou who liveth and reigneth with God the Father, in the unity of the Holy Ghost, God, forever and ever. R. Amen.

THE LAST GOSPEL

IN principio erat Verbum et Verbum erat apud Deum, et Deus erat Verbum. Hoc erat in principio apud Deum. Omnia per ipsum facta sunt, et sine ipso factum est nihil quod factum est; in ipso vita erat, et vita erat lux hominum; et lux in tenebris lucet, et tenebrae eam non comprehenderunt. Fuit homo missus a Deo cui nomen erat Joannes. Hic cenit in testimonium, et testimonium perhiberet de lumine, ut omnes crederent per illum. Non erat ille lux, sed ut testimonium perhiberet de lumine. Erat lux vera quae illuminat omnem hominem venientem

280 n Sacred Music Colloquium 2012 Propers for the Requiem Mass in hunc mundum. In mundo erat, et mundus per ipsum factus est et mundus eum non cognovit. In propria venit, et sui eum non receperunt. Quotquot autem receperunt eum, dedit eis potestatem filios Dei fieri; his qui credunt in nomine eius, qui non ex sanquinibus, neque ex voluntate viri, sed ex deo nati sunt. (Genuflectit dicens) ET VERBUM CARO FACTUM EST, et habitavit in nobis; et vidimus gloriam ejus gloriam quasi Unigenti a Patre, plenum gratiae et veritatis.

R. Deo gratias.

IN the beginning was the Word, and the Word was with God, and the Word was God. The same was in the beginning with God. All things were made by Him; and without Him was not any thing made that was made. In him was life; and the life was the light of men. And the light shineth in darkness; and the darkness comprehended it not. There was a man sent from God, whose name was John. The same came for a witness, to bear witness of the Light, that all men through him might believe. He was not that Light, but was sent to bear witness of that Light. That was the true Light, which lighteth every man that cometh into the world. He was in the world, and the world was made by Him, and the world knew Him not. He came unto his own, and his own received Him not. But as many as received Him, to them gave he power to become the sons of God, even to them that believe on his name: Which were born, not of blood, nor of the will of the flesh, nor of the will of man, but of God. (Genuflect while saying) AND THE WORD WAS MADE FLESH, and dwelt among us, and we saw His glory, the glory as of the Only begotten of the Father, full of grace and truth.

R. Thanks be to God.

Propers for the Requiem Mass Sacred Music Colloquium 2012 n 281 Proper Prayers of the Mass Feast of the Holy Apostles Peter and Paul

COMMENTARY ON THE FEAST

The whole Church rejoices in this festival day, which is consecrated by the martyrdom of the Apostles Peter and Paul (Collect). Formerly the holy Sacrifice was twice offered solemnly at Rome, in the two great basilicas built above the tombs of these “two princes, who by the cross and the sword attained their place in the eternal senate” (Hymn at Vespers). Later the celebration was divided on account of the distance between the two churches, and St. Peter is more particularly honoured on June 29, St. Paul on June 30.

Today’s Mass dwells especially upon Peter’s prerogatives (Gospel), God’s special protection of him (Introit, Epistle), and the Church’s trust in the intercession of the two great Apostles (Prayers). As they sing Tu es Petrus, Christians recall that the prerogatives of the Prince of the Apostles have passed to the popes, his successors in the See of Rome, and they have the assurance that they may rely upon God’s special Providence for Christ’s vicar, now charged with the responsibility for Holy Church.

—Commentary From St. Andrew Daily Missal, 1952 edition

INTROIT

Acts 12.11

Nunc scio vere, quia misit Dominus Now I know in very deed that the Lord Angelum suum: et eripuit me de manu hath sent His Angel, and hath delivered Herodis, et de omni exspectatione plebis me out of the hand of Herod, and from Judaeorum. — Domine, probasti me: et all the expectation of the people of the cognovisti me: tu cognovisti sessionem Jews. — (Ps. 138.1, 2). Lord, Thou hast meam, et resurrectionem meam. V.: proved me, and known me: Thou hast Gloria Patri . . . — Nunc scio vere . . . known my sitting down and my rising up. V.: Glory be to the Father . . . — Now I know . . .

COLLECT

O God, who hast made this day holy by the martyrdom of Thine Apostles, Peter and Paul: grant that Thy Church may in all things follow the precepts of those, through whom she received the beginnings of the Faith. Through our Lord Jesus Christ, Thy Son . . .

282 n Sacred Music Colloquium 2012 Propers for the Solemnity of Sts. Peter and Paul

EPISTLE

Acts 12.1-11 Lesson From the Acts of the Apostles.

[Peter’s deliverance from prison by an Angel]

In those days, Herod the king stretched forth his hands to afflict some of the Church: and he killed James, the brother of John, with the sword; and seeing that it pleased the Jews, he proceeded to take up Peter also. Now it was in the days of the azymes: and when he had apprehended him, he cast him into prison, delivering him to four files of soldiers to be kept, intending after the pasch to bring him forth to the people. Peter therefore was kept in prison; but prayer was made without ceasing by the Church unto God for him. And when Herod would have brought him forth, the same night Peter was sleeping between two soldiers, bound with two chains; and the keepers before the door kept the prison: and behold, an Angel of the Lord stood by him and a light shined in the room; and he striking Peter on the side, raised him up, saying: Arise quickly, and the chains fell off from his hands; and the Angel said to him: Gird thyself, and put on thy sandals; and he did so; and he said to him, cast thy garment about thee, and follow me; and going out, he followed him: and he knew not that it was true which was done by the Angel; but he though he saw a vision. And passing through the first and the second ward, they came to the iron gate that leadeth to the city, which of itself opened to them; and going out, they passed on through one street, and immediately the Angel departed from him. And Peter coming to himself, said, Now I know in very deed that the Lord hath sent His Angel, and hath delivered me out of the hand of Herod, and from all the expectation of the people of the Jews.

GRADUAL

Ps. 44.17, 18

Constitues eos principes super omnem Thou shalt make them princes over all terram: memores erunt nominis tui, the earth: they shall remember Thy Domine. V.: Pro patribus tuis nati sunt name, O Lord. V.: Instead of fathers, tibi filii: propterea populi confitebuntur sons are born to thee: therefore shall

tibi. people praise Thee. Alleluia, alleluia. V.: Tu es Petrus, et Alleluia, alleluia. V.(Matt. 16.18). super hanc petram aedificabo Ecclesiam Thou art Peter, and upon this rock I will meam. Alleluia. build My Church. Alleluia.

Propers for the Solemnity of Sts. Peter and Paul Sacred Music Colloquium 2012 n 283

GOSPEL

Matt. 16.13-19 † Continuation of the holy Gospel according to St. Matthew.

[Peter’s confession of the Godhead of Christ. He is declared by Our Lord to be the Rock on which the Church rests securely.]

At that time, Jesus came into the quarters of Caesarea Philippi, and He asked His disciples saying: Whom do men say that the Son of Man is? But they said: Some, John the Baptist, and other some, Elias, and others, Jeremias, or one of the prophets. Jesus saith to them: But whom do you say that I am? Simon Peter answered, and said: Thou art Christ, the Son of the living God. And Jesus answering, said to him: Blessed art thou, Simon Bar-Jona, because flesh and blood hath not revealed it to thee, by My Father who is in heaven: and I say to thee: That thou art Peter, and upon this rock I will build My church, and the gates of hell shall not prevail against it and to thee I will give the keys of the kingdom of heaven; and whatsoever thou shalt bind upon earth, it shall be bound also in heaven; and whatsoever thou shalt loose on earth, it shall be loosed also in heaven.

OFFERTORY

Ps. 68. 21

Constitues eos principes super omnem Thou shalt make them princes over all terram: memores erunt nominis tui, the earth: they shall remember Thy

Domine, in omni progenie et name, O Lord, throughout all generatione. generations.

SECRET

May the prayers of the Apostles accompany the sacrifices which we bring to Thee, O Lord to be consecrated to Thy Name: and by the same prayer, grant that we may be cleansed and defended. Through our Lord Jesus Christ, Thy Son, who liveth and reigneth.

284 n Sacred Music Colloquium 2012 Propers for the Solemnity of Sts. Peter and Paul

PREFACE

Preface of the Apostles

Vere dignum et justum est, aequum et It it truly meet and just, right and for salutare, Te Domine suppliciter exorare, our salvation, to entreat Thee humbly, ut gregem tuum pator aeterne, non O Lord, that Thou wouldst not desert deseras: sed per beatos Apostolos tuos Thy flock, O everlasting Shepherd, but, continua protectione custodias. Ut through Thy blessed Apostles, wouldst iisdem rectoribus gubernetur, quos keep it under Thy constant protection; operis tui vicarios eidem contulisti that it may be governed by those same

praeesse pastores. Et ideo cum Angelis rulers, whom as vicars of Thy work, et Archangelis, cum Thronis et Thou didst set over it to be its pastors. Dominationibus, cumque omni militia And therefore with Angels and caelestis exercitus, hymnum gloriae tuae Archangels, with Thrones and canimus, sine fine dicentes: Dominations, and with all the hosts of the heavenly army, we sing the hymn of Thy glory, evermore saying:

COMMUNION

Matt. 16.18

Tu es Petrus, et super hanc petram Thou art Peter, and upon this rock I will

aedificabo Ecclesiam meam. build My Church.

POSTCOMMUNION

Through the intercession of the Apostles, do Thou, O Lord, guard from all adversity those whom Thou hast fed with heavenly Food. Through our Lord Jesus Christ, Thy Son, who livest and reignest . . .

Propers for the Solemnity of Sts. Peter and Paul Sacred Music Colloquium 2012 n 285 Veni Creator Spiritus

286 n Sacred Music Colloquium 2012 Veni Creator Spiritus John Dryden’s translation of Veni Creator from 1693

Creator Spirit, by Whose aid The world’s foundations first were laid, Come, visit every pious mind; Come, pour Thy joys on human kind; From sin, and sorrow set us free; And make Thy temples worthy Thee.

O Source of uncreated Light, The Father’s promised Paraclete! Thrice holy Fount, thrice holy Fire, Our hearts with heav’nly love inspire; Come, and Thy sacred unction bring To sanctify us, while we sing!

Plenteous of grace, descend from high, Thou strength of His almighty hand, Whose pow’r does Heav’n and earth command: Proceeding Spirit, our Defense, Who dost the gift of tongues dispense, And crown’st Thy gift with eloquence!

Refine and purge our earthly parts; But, oh, inflame and fire our hearts! Our frailties help, our vice control; Submit the senses to the soul; And when rebellious they are grown, Then, lay Thy hand, and hold them down.

Create all new; our wills control, Subdue the rebel in our soul; Make us eternal truths receive, And practice all that we believe; Give us Thyself, that we may see The Father and the Son by Thee.

Immortal honor, endless fame, Attend th’almighty Father’s Name: The Savior Son be glorified, Who for lost man’s redemption died: And equal adoration be, Eternal Paraclete, to Thee.

Veni Creator Spiritus Sacred Music Colloquium 2012 n 287 288 n Sacred Music Colloquium 2012 Prayer for Religious Liberty

Greetings and Best Wishes Church Music Association of America Sacred Music Colloquium XXII

from friends and colleagues at MOUNT CALVARY CHURCH BALTIMORE, MARYLAND ROMAN CATHOLIC, ANGLICAN USE PARISH of the PERSONAL ORDINARIATE of the CHAIR of SAINT PETER

Pastor/Administrator: The Rev’d Jason Catania BA (Mus), MA, (Mus), MDiv, STM

Organist and Choirmaster: Daniel Bennett Page BA (Mus), MFA, PhD

Founded in 1842, Mount Calvary Church for many years championed the restoration of Catholic customs and belief within the Anglican communion. On Sunday, January 22, 2012, Mount Calvary, its parishioners and clergy were received into the Catholic Church. The parish clergy were ordained Catholic priests in June 2012.

We are now home to  Weekly Sung and Solemn High Anglican Use and Extraordinary Form (Latin) Masses  Historic 1961 ‘Holy Ghost Organ’ by Charles Brenton Fisk  Concert Series: ‘Music en route to the Holy’  Gregorian chant in Latin and English  A hearty welcome to all visitors www.MountCalvary.com