Music for Requiem Masses

Total Page：16

File Type：pdf, Size：1020Kb

MUSIC FOR REQUIEM MASSES ENGLISH GREGORIAN CHANT OPTIONS: Introit: Option 1 (SEP pg. 414) – Ps. 65; Antiphon – Eternal rest grant unto them, O Lord, and may perpetual light shine upon them. Option 2 (SEP pg. 415) – Ps. 17; Antiphon – As for me, I will appear before you in righteousness; I will be satisfied when your glory is made manifest. Option 3 (SEP pg. 416) – Ps. 88; Antiphon – Let my prayer enter into your presence; incline your ear to my supplication, O Lord. Option 4 (SEP pg. 417) – Ps. 130; Antiphon – O Lord, if you were to take into account our iniquities, who would withstand the test? But forgiveness abides with you, O God of Israel. Offertory Antiphon: (SEP pg. 418) O Lord Jesus Christ, King of glory, deliver the souls of all the departed faithful from the sufferings of hell and from the deep pit; deliver them from the mouth of the lion, may they not be swallowed up by hell, may they not fall into darkness; but may Saint Michael, the standardbearer, present them in holy light as you promised long ago to Abraham and his descendants. Communion Antiphon: (SEP pg. 419) – Ps. 130; May eternal light shine upon them, O Lord, in the company of your saints for eternity, for you are full of goodness. MASS SETTING OPTIONS: . Latin: Mass VIII – Missa de Angelis . English: ICEL HYMN OPTIONS FROM THE VATICAN II HYMNAL: . Hearken, Shepherd Of The Sheep – pg. 264 . In Paradisum – pg. 265 (Option 1); pg. 265 (Option 2); pg. 266 (Option 3) . The King Of Love My Shepherd Is – pg. 269 . Love Divine, All Loves Excelling – pg. 276 . O Thou, Who At Thy Eucharist Didst Pray – pg. 280 . Let All Mortal Flesh Keep Silence – pg. 286 . Sanctify Me Wholly – pg. 296 . Lead, Kindly Light – pg. 298 . O Jesus Christ, Remember – pg. 303 . O Lord, I Am Not Worthy – pg. 304 . O Sacrament Most Holy – pg. 305 . Panis Angelicus – pg. 309 . I Sought The Lord, And Afterward I Knew – pg. 319 . All Ye Who Seek A Comfort Sure – pg. 345 . At The Lamb’s High Feast We Sing – pg. 353 . I Know That My Redeemer Lives – pg. 355 . Love’s Redeeming Work Is Done – pg. 356 . The God Whom Earth And Sea and Sky – pg. 368 . O Sanctissima/O Most Holy One – pg. 369 RESPONSORIAL PSALM OPTIONS USING MEINRAD PSALM TONES: . Ps 63:2, 3-4, 5-6, 8-9; Response – My soul is thirsting for you, O Lord my God. Ps 103:8 and 10, 13 -14, 15-16, 17-18; Response – The Lord is kind and merciful. or: The salvation of the just comes from the Lord. Ps 116:5, 6, 10-11, 15-16ac; Response – I will walk in the presence of the Lord in the land of the living. or: Alleluia. Ps 23; Response – I shall live in the house of the Lord all the days of my life. .

Copy Link

Recommended publications

Singing in Latin.Pages
Why are we singing in Latin??? There are about 20 sets of Mass parts in Latin that were used commonly before the Mass was translated into the vernacular. The Sanctus and Agnus Dei that we are currently singing are from Mass XVIII, commonly used as Requiem Masses (funerals). The somberness and simplicity of this setting pairs well with the penitential season of Lent. Many of the other settings have more Joyful or uplifting qualities, so we shouldn’t Just associate singing in Latin with penance! Despite Latin being a dead language, the Catholic Church has retained it to this day as the official language of the Holy See and the Roman Rite. All liturgical documents, rites of the Church, and even official statements given by the Vatican are first published in Latin, and then translated into other languages for use throughout the world. So, why do we sing in Latin? It’s a layered answer. Given what I’ve already said, singing in Latin connects us to the Universal Church on a deeper level. It also tips a hat to our heritage of four centuries of praying the Mass in Latin – a tradition many “pre-Vatican II Catholics” remember. Now, you’re right in assuming that many parishes dropped the use of Latin after Vatican II. The Vatican II documents were interpreted and implemented differently in the United States than in other countries. While we saw an attitude of “out with the old, in with the new” here in the US, many other countries understood that one of the council’s goals was to retain the rich heritage of the Church, including the way churches were designed and decorated, the use of Latin, and so on.
[Show full text]
The Latin Mass Society
Ordo 2010 Compiled by Gordon Dimon Principal Master of Ceremonies assisted by William Tomlinson for the Latin Mass Society © The Latin Mass Society The Latin Mass Society 11–13 Macklin Street, London WC2B 5NH Tel: 020 7404 7284 Fax: 020 7831 5585 Email: [email protected] www.latin-mass-society.org INTRODUCTION +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Omnia autem honeste et secundum ordinem fiant. 1 Cor. 14, 40. This liturgical calendar, together with these introductory notes, has been compiled in accordance with the Motu Proprio Rubricarum Instructum issued by Pope B John XXIII on 25th July 1960, the Roman Breviary of 1961 and the Roman Missal of 1962. For the universal calendar that to be found at the beginning of the Roman Breviary and Missal has been used. For the diocesan calendars no such straightforward procedure is possible. The decree of the Sacred Congregation of Rites of 26th July 1960 at paragraph (6) required all diocesan calendars to conform with the new rubrics and be approved by that Congregation. The diocesan calendars in use on 1st January 1961 (the date set for the new rubrics to come into force) were substantially those previously in use but with varying adjustments and presumably as yet to re-approved. Indeed those calendars in use immediately prior to that date were by no means identical to those previously approved by the Congregation, since there had been various changes to the rubrics made by Pope Pius XII. Hence it is not a simple matter to ascertain in complete and exact detail the classifications and dates of all diocesan feasts as they were, or should have been, observed at 1st January 1961.
[Show full text]
2020-11-01 Gregorian Chant, Preliminary
All Souls’ Day (Transferred from November 2) Sunday, November 1, 2020, 5:00 p.m. ALL SOULS’ DAY/ALL SOULS’ REQUIEM The tradition of observing November 2 as a day of commemoration began in the tenth century as a complement to All Saints’ Day, November 1. The traditional service of remembering the dead — whether on this day or during an actual funeral — is called a Requiem, the first word of the Latin text, meaning “rest.” The solemnity of the liturgy and the beauty of the music help us to mourn with hope. Thus we are encouraged to trust ever more in God’s gift of eternal life through the death and resurrection of our Lord Jesus Christ. THE GREGORIAN CHANT REQUIEM The oldest musical setting of the Requiem is the version in Gregorian Chant (plainsong, melody only, no harmony). Created sometime in the first millennium A.D., it does have one “new” movement, the Dies irae, dating from no later than the 1200s. The Dies irae melody has been quoted in non-Requiem music by Hector Berlioz, Franz Liszt, Sergei Rachmaninoff, and Camille Saint-Saëns, among others. Some composers of Requiem settings have omitted the Dies irae text, either because of its length or because of its expression of fear, guilt, and judgment. Regarding the latter issue, Jesus, his apostles, and his Hebrew prophets do indeed declare a day of reckoning, and fear is a legitimate human feeling, expressed in the Psalms and in the Prophets. However, God’s grace can ease our fear, and — through the Holy Spirit’s ministry — can offset it by giving us confidence in Christ’s merit rather than our own.
[Show full text]
Introitus: the Entrance Chant of the Mass in the Roman Rite
Introitus: The Entrance Chant of the mass in the Roman Rite The Introit (introitus in Latin) is the proper chant which begins the Roman rite Mass. There is a unique introit with its own proper text for each Sunday and feast day of the Roman liturgy. The introit is essentially an antiphon or refrain sung by a choir, with psalm verses sung by one or more cantors or by the entire choir. Like all Gregorian chant, the introit is in Latin, sung in unison, and with texts from the Bible, predominantly from the Psalter. The introits are found in the chant book with all the Mass propers, the Graduale Romanum, which was published in 1974 for the liturgy as reformed by the Second Vatican Council. (Nearly all the introit chants are in the same place as before the reform.) Some other chant genres (e.g. the gradual) are formulaic, but the introits are not. Rather, each introit antiphon is a very unique composition with its own character. Tradition has claimed that Pope St. Gregory the Great (d.604) ordered and arranged all the chant propers, and Gregorian chant takes its very name from the great pope. But it seems likely that the proper antiphons including the introit were selected and set a bit later in the seventh century under one of Gregory’s successors. They were sung for papal liturgies by the pope’s choir, which consisted of deacons and choirboys. The melodies then spread from Rome northward throughout Europe by musical missionaries who knew all the melodies for the entire church year by heart.
[Show full text]
Understanding When to Kneel, Sit and Stand at a Traditional Latin Mass
UNDERSTANDING WHEN TO KNEEL, SIT AND STAND AT A TRADITIONAL LATIN MASS __________________________ A Short Essay on Mass Postures __________________________ by Richard Friend I. Introduction A Catholic assisting at a Traditional Latin Mass for the first time will most likely experience bewilderment and confusion as to when to kneel, sit and stand, for the postures that people observe at Traditional Latin Masses are so different from what he is accustomed to. To understand what people should really be doing at Mass is not always determinable from what people remember or from what people are presently doing. What is needed is an understanding of the nature of the liturgy itself, and then to act accordingly. When I began assisting at Traditional Latin Masses for the first time as an adult, I remember being utterly confused with Mass postures. People followed one order of postures for Low Mass, and a different one for Sung Mass. I recall my oldest son, then a small boy, being thoroughly amused with the frequent changes in people’s postures during Sung Mass, when we would go in rather short order from standing for the entrance procession, kneeling for the preparatory prayers, standing for the Gloria, sitting when the priest sat, rising again when he rose, sitting for the epistle, gradual, alleluia, standing for the Gospel, sitting for the epistle in English, rising for the Gospel in English, sitting for the sermon, rising for the Credo, genuflecting together with the priest, sitting when the priest sat while the choir sang the Credo, kneeling when the choir reached Et incarnatus est etc.
[Show full text]
A Comparison of the Two Forms of the Roman Rite
A Comparison of the Two Forms of the Roman Rite Mass Structures Orientation Language The purpose of this presentation is to prepare you for what will very likely be your first Traditional Latin Mass (TLM). This is officially named “The Extraordinary Form of the Roman Rite.” We will try to do that by comparing it to what you already know - the Novus Ordo Missae (NOM). This is officially named “The Ordinary Form of the Roman Rite.” In “Mass Structures” we will look at differences in form. While the TLM really has only one structure, the NOM has many options. As we shall see, it has so many in fact, that it is virtually impossible for the person in the pew to determine whether the priest actually performs one of the many variations according to the rubrics (rules) for celebrating the NOM. Then, we will briefly examine the two most obvious differences in the performance of the Mass - the orientation of the priest (and people) and the language used. The orientation of the priest in the TLM is towards the altar. In this position, he is facing the same direction as the people, liturgical “east” and, in a traditional church, they are both looking at the tabernacle and/or crucifix in the center of the altar. The language of the TLM is, of course, Latin. It has been Latin since before the year 400. The NOM was written in Latin but is usually performed in the language of the immediate location - the vernacular. [email protected] 1 Mass Structure: Novus Ordo Missae Eucharistic Prayer Baptism I: A,B,C,D Renewal Eucharistic Prayer II: A,B,C,D Liturgy of Greeting: Penitential Concluding Dismissal: the Word: A,B,C Rite: A,B,C Eucharistic Prayer Rite: A,B,C A,B,C Year 1,2,3 III: A,B,C,D Eucharistic Prayer IV: A,B,C,D 3 x 4 x 3 x 16 x 3 x 3 = 5184 variations (not counting omissions) Or ~ 100 Years of Sundays This is the Mass that most of you attend.
[Show full text]
Gregorian Chant, a Textbook for Seminaries, Novitiates And
^» «»»» * » » » 3 » Please handle this volume with care. The University of Connecticut Libraries, Storrs Music MT K6 C-7 MUSIC LIBRARY UNIVERSITY OF CONNECTICUT §TQRRS, CONNECTICUT MUSIC LIBRARY UNIVERSITY OF CONNECTICUT 8T0RRS, CONNECTICUT Digitized by the Internet Archive in 2013 http://archive.org/details/gregorianchantteOOklar GREGORIAN CHANT GREGORIAN CHANT A TEXTBOOK FOR SEMINARIES, NOVITIATES AND SECONDARY SCHOOLS MUSIC LIBRARY CUI ONWER^OFCON CONHECTICUIS STORRS. by REV. ANDREW F. KLARMANN Teacher of Music Cathedral College, Brooklyn, N. Y. Published by GREGORIAN INSTITUTE OF AMERICA TOLEDO, OHIO Imprimatur *MOST REV. THOMAS E. MOLLOY, S.T.D. ~* Bishop of Brooklyn * i Nihil Obstat REV. JOHN F. DONOVAN^ Censor Ltbrorum JANUARY 27, 1945 Desclee and Company of Tournai, Belgium, has granted permission to the author to use the rhythmic marks in this textbook. Copyright, 1945, by Gregorian Institute printed in u.s.a. all rights reserved Dedicated to MOST REVEREND THOMAS E. MOLLOY Bishop of Brooklyn FOREWORD In the following pages Father Klarmann presents a clear, orderly, systematic treatment of liturgical chant. At the very beginning of his treatise he provides an explanation of certain fundamental terms, such as notation, signs, rhythm, chant structure, etc., which is very serviceable in preparing the reader for the fuller development of the general theme in the sub- sequent chapters of this book. With the same thought and purpose the author more particu- larly gives an early definition of the chief subject of discussion, namely, chant, which he defines, in the usually accepted sense, as liturgical music in the form of plain song, which is monophonic, unaccompanied and free in rhythm.
[Show full text]
In Latin and English
THE HOLY MASS OF THE SECOND VATICAN COUNCIL in Latin and English for the Solemn Celebration of the Ordinary Form of the Roman Rite at St. John the Beloved Catholic Church in McLean, Virginia “Particular law remaining in force, the use of the Latin language is to be preserved in the Latin rites.” (Vatican II, Sacrosanctum Concilium, n. 36) “Steps should be taken so that the faithful may also be able to say or to sing together in Latin those parts of the Ordinary of the Mass which pertain to them.” (Vatican II, Sacrosanctum Concilium, n. 50) “Pastors of souls should take care that besides the vernacular ‘the faith- ful may also be able to say or sing together in Latin those parts of the Ordinary of the Mass which pertain to them.”’ (Sacred Congregation of Rites, Musicam sacram (1967), n. 47) “The Roman Church has special obligations towards Latin, the splen- did language of ancient Rome, and she must manifest them whenever the occasion presents itself.” (John Paul II, Dominicae cenae (1980), n. 10) “Mass is celebrated either in Latin or in another language, provided that liturgical texts are used which have been approved according to the norm of law. Except in the case of celebrations of the Mass that are scheduled by the ecclesiastical authorities to take place in the language of the people, Priests are always and everywhere permitted to celebrate Mass in Latin.” (Congregation for Divine Worship and the Discipline of the Sacraments, Redemptionis Sacramentum (2004), n. 112) “I ask that future priests, from their time in the seminary, receive the preparation needed to understand and to celebrate Mass in Latin, and also to use Latin texts and execute Gregorian chant; nor should we for- get that the faithful can be taught to recite the more common prayers in Latin, and also to sing parts of the liturgy to Gregorian chant.” (Bene- dict XVI, Sacramentum caritatis (2007), n.
[Show full text]
Gregorian Chant
GREGORIAN CHANT GREGORIAN CHANT A TEXTBOOK FOR SEMINARIES, NOVITIATES AND SECONDARY SCHOOLS by REV. ANDREW F. KLARMANN Published by GREGORIAN INSTITUTE OF AMERICA TOLEDO, OHIO Imprimatur *MOST REV. THOMAS E. MOLLOY, S.T.D. Bishop of Brooklyn Nihil Obstat REV. JOHN F. DONOVAN Censor Librorum JANUARY 27, 1945 Desclee and Company of Tournai, Belgium, has granted permission to the author to use the rhythmic marks in this textbook. COPYRIGHT, 1945. BY GREGORIAN INSTITUTE PRINTED IN U.S.A. ALL RIGHTS RESERVED Dedicated to MOST REVEREND THOMAS E. MOLLOY BISHOP OF BROOKLYN FOREWORD In the following pages Father Klarmann presents a clear, orderly, systematic treatment of liturgical chant. At the very beginning of his treatise he provides an explanation of certain fundamental terms, such as notation, signs, rhythm, chant structure, etc., which is very serviceable in preparing the reader for the fuller development of the general theme in the sub- sequent chapters of this book. With the same thought and purpose the author more particu- larly gives an early definition of the chief subject of discussion, namely, chant, which he defines, in the usually accepted sense, as liturgical music in the form of plain song, which is monophonic, unaccompanied and free in rhythm. Very interestingly also chant structure is explained. The author then proceeds to record the his- torical development of chant at least in its salient features. It is readily understood of course that the Infant Church could not promote a notable advancement in liturgical music during the period of ruthless persecution. And still it seems quite certain that even in the catacombs hymns were used in connection with religious worship.
[Show full text]
Textbook of Gregorian Chant
TEXT BOOK OF GREGORIAN CHANT ACCORDING TO THE SOLESMES METHOD BY Dom Gregory SUNOL, 0. S. B., Monk of Montserrat TRANSLATED FROM THE SIXTH FRENCH EDITION WITH AN INTRODUCTION BY G. M. DURNFORD OBLATE OF SOLESHES. SOCIETY OF ST JOHN EVANGELIST D£SCLEE & Co Printers to the Holy See and the Sacred Coogr. of Rites TOURNAI (Belgium) PREFACE. Few words are necessary to introduce the present work to English speaking students of plainsong. Such a handbook has long been needed and is sure of its welcome. Neither the well- known Stanbrook Grammar of Plainsong nor Madame Ward's valuable school courses cover so much ground as Dom Gregory Suflol in his Spanish " Metodo ". The book first appeared in 1905, prefaced by a commendatory letter from Dom Andre Mocquereau, the famous director of the Solesmes School. Its author has many years of teaching experience behind him, as well as sound theoret- ical knowledge of his subject. His work has proved its popu- larity and practical usefulness by going through a number of editions in the original Spanish, besides being translated into French and German. Indeed by compressing the Solesmes teach- ing within the narrow limits of a general text book Dom Sufiol has rendered good service to the Gregorian cause. Not everyone has access to the monumental publications of Solesmes, the Mono- graphies gregoriennes or the Paleographie Musicale> and countless students will be glad to find the subject matter of this latter Work, especially the important seventh volume on Gregorian Rhythm, here summed up and analysed, while the extensive quotations from Dom Mocquereau's Nombre Musical gregorien, with which the Spanish author has enriched his later editions, will make them desirous of seeing this fascinating synthesis of the whole subject brought out in English.
[Show full text]
The Development of the Book of Common Prayer
Summary Document by Rev. David Peer Diocese of Fredericton The Development of the Book of Common Prayer The purpose of this document is to trace the development of the Canadian Book of Common Prayer from its origins in England to today. A great resource for anyone interested in the Canadian Book of Common Prayer is the Prayer Book Society website http://prayerbook.ca/the-prayer-book, where you can find the 1962 Canadian Prayer Book online. Another great resource online is a site hosted by the Society of Archbishop Justus incorporated in 1997 as a non-profit corporation in the State of New York http://justus.anglican.org/resources/bcp/. It has a number of Anglican historical publications concerning the Prayer Book. What is the Book of Common Prayer, how does it function for the Church of England and other Anglican Churches? The 1962 Canadian revision of The Book of Common Prayer is the official prayer book of the Anglican Church of Canada. It is the second Canadian edition in a line of Books of Common Prayer, originating in the sixteenth century English Reformation. The Book of Common Prayer includes official doctrinal positions, such as the Creeds, the Solemn Declaration of 1893, and the 39 Articles of Religion. It is also the source for the forms for administering: Holy Communion (along with the Collects, Epistles, and Gospels used at Communion and other services), Baptism, Matrimony, and Burials. It also contains the ordination rites of the Anglican Church. The Book of Common Prayer also includes the offices, services of morning and evening prayer, along with tables for reading through the Bible yearly and Psalms monthly as a part of the offices.
[Show full text]
Traditional Latin Mass (TLM), Otherwise Known As the Extraordinary Form, Can Seem Confusing, Uncomfortable, and Even Off-Putting to Some
For many who have grown up in the years following the liturgical changes that followed the Second Vatican Council, the Traditional Latin Mass (TLM), otherwise known as the Extraordinary Form, can seem confusing, uncomfortable, and even off-putting to some. What I hope to do in a series of short columns in the bulletin is to explain the mass, step by step, so that if nothing else, our knowledge of the other half of the Roman Rite of which we are all a part, will increase. Also, it must be stated clearly that I, in no way, place the Extraordinary Form above the Ordinary or vice versa. Both forms of the Roman Rite are valid, beautiful celebrations of the liturgy and as such deserve the support and understanding of all who practice the Roman Rite of the Catholic Church. Before I begin with the actual parts of the mass, there are a few overarching details to cover. The reason the priest faces the same direction as the people when offering the mass is because he is offering the sacrifice on behalf of the congregation. He, as the shepherd, standing in persona Christi (in the person of Christ) leads the congregation towards God and towards heaven. Also, it’s important to note that a vast majority of what is said by the priest is directed towards God, not towards us. When the priest does address us, he turns around to face us. Another thing to point out is that the responses are always done by the server. If there is no server, the priest will say the responses himself.
[Show full text]