August 21, 2021

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Traditional Worship Service THIRTEENTH SUNDAY AFTER PENTECOST SATURDAY, AUGUST 21, 2021 Worship Series: “Family Ties” GATHERING Prelude “Earth and All Stars,” arr. Michael Burkhardt “Beautiful Savior,” arr. Charles Ore Welcome to Worship Th anksgiving for Baptism Our Savior’s Lutheran Church (ELCA) • 909 West 33rd Street, Sioux Falls, SD 57105 PASTORS Randall Gehring, Timothy Lemme, and Justin Kosec VISITATION MINISTERS Pr. Rolfe Johnstad and Maribeth Anderson OFFICE 336-2942 • FAX 334-0671 • OSLCHURCH.COM +Hymn – ELW, No. 532, “Gather Us In,” sts. 1–3 +Greeting +Canticle of Praise – ELW, No. 622, “Neither Death nor Life,” st. 2 +Prayer of the Day WORD Anthem – “Welcome Table,” arr. Mark Hayes Reading – Ephesians 6:10–20 +Gospel Acclamation – ELW, page 198 +Gospel – John 6:56–69 Sermon Hymn of the Day – ELW, No. 638, “Blessed Assurance” +Apostles’ Creed +Prayers of Intercession MEAL Offering Invitation Video – My Generosity Story: Sandy Henry Off ering Prayer +Great Th anksgiving Dialog Preface Holy Words of Institution Lord’s Prayer Invitation to the Meal Holy Communion Lamb of God Communion Hymn – ELW, No. 474, “Bread of Life from Heaven” Prayer aft er the Meal SENDING Sending Hymn – ELW, No. 726, “Light Dawns on a Weary World” Announcements Sending Postlude – “Benedicamus Domino,” Christopher Uehlein WORSHIP LEADERS Presiding and Preaching Minister: Pastor Randy Gehring Piano: Jon Mattheis Cantor: Martha Rossing Reader: Don Lang Media: Josh Matzner Sound: Bob Nelson Mission: Our Savior’s is a people forgiven in Christ whose mission is to proclaim Christ and nurture faith that connects with everyday life. Our beliefs and mission shape our values and our values shape how we live. OSL has fi ve Core Values: Worship, Service, Learning, Generosity, and Community. Learn more at oslchurch.com. Annual Vision for Ministry: By God’s grace and with deep gratitude, we will nurture community and boldly embrace and serve all. Guests: Thank you for worshiping at OSL today. If you’re searching for a church home, you are welcome to contact the Church Offi ce—336-2942 or [email protected]—visit oslchurch.com, or come by during regular business hours. Worship services are broadcast on Sundays (Celebrate: 9:00 A.M. on KTTW, cable channel 9; channel 7.1; Festive: 1:00 P.M. on KSCB, cable channel 30; channel 53), streamed on Facebook Live (facebook.com/oslchurchsf; Celebrate is at 8:45 a.m., Festive at 10:15), and are available on Monday at oslchurch.com. Assistive listening devices are available at the sound booth in the Sanctuary and Celebrate Center. The Church Offi ce is open from 8:00 A.M. to 5:00 P.M., Monday through Friday. Call 336-2942 or email [email protected]. www.oslchurch.com.

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(1) Western Culture Has Roots in Ancient and ___
5 16. (50) If a 14th-century composer wrote a mass. what would be the names of the movement? TQ: Why? Chapter 3 Kyrie, Gloria, Credo, Sanctus, Agnus Dei. The text remains Roman Liturgy and Chant the same for each day throughout the year. 1. (47) Define church calendar. 17. (51) What is the collective title of the eight church Cycle of events, saints for the entire year services different than the Mass? Offices [Hours or Canonical Hours or Divine Offices] 2. TQ: What is the beginning of the church year? Advent (four Sundays before Christmas) 18. Name them in order and their approximate time. (See [Lent begins on Ash Wednesday, 46 days before Easter] Figure 3.3) Matins, before sunrise; Lauds, sunrise; Prime, 6 am; Terce, 9 3. Most important in the Roman church is the ______. am; Sext, noon; Nones, 3 pm; Vespers, sunset; Mass Compline, after Vespers 4. TQ: What does Roman church mean? 19. TQ: What do you suppose the function of an antiphon is? Catholic Church To frame the psalm 5. How often is it performed? 20. What is the proper term for a biblical reading? What is a Daily responsory? Lesson; musical response to a Biblical reading 6. (48) Music in Context. When would a Gloria be omitted? Advent, Lent, [Requiem] 21. What is a canticle? Poetic passage from Bible other than the Psalms 7. Latin is the language of the Church. The Kyrie is _____. Greek 22. How long does it take to cycle through the 150 Psalms in the Offices? 8. When would a Tract be performed? Less than a week Lent 23.
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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.
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1 I Saw Three Ships Come Sailing In Simon Preston 2.05 15 I Sing of a Maiden Arnold Bax 4.19 Soloists: Emilia Morton soprano, Christopher Watson tenor 16 No Small Wonder Paul Edwards 2.42 2 There Is No Rose Simon Preston 2.54 17 There Is No Rose Jonathan Lane 2.39 3 Tomorrow Shall Be My Dancing Day John Gardner 2.31 18 Come Rock His Cradle Richard Knight 4.27 4 Love Came Down at Christmas Richard Lloyd 2.32 Soloist: Stephen Kennedy baritone 5 Rejoice and Be Merry Christopher Robinson 1.55 19 I Sing of a Maiden Alec Redshaw 2.10 6 The Birds Richard Hickox 1.55 20 Balulalow John Gardner 2.37 Soloist: Grace Davidson soprano Soloist: Katie Trethewey soprano 7 Benedicamus Domino Peter Warlock 1.21 21 Mary Walked Through a Wood of Thorn Philip Radcliffe 2.01 Soloists: Grace Davidson soprano, Christopher Watson tenor 8 Adam lay ybounden Peter Warlock 1.20 22 A Gallery Carol John Gardner 2.13 9 I Saw a Fair Maiden Peter Warlock 3.47 10 Balulalow Peter Warlock 2.05 Total Timing 55.35 Soloist: Grace Davidson soprano 11 As Dew in Aprylle Peter Warlock 1.52 12 Adam lay ybounden Philip Ledger 2.01 Soloist: Nicholas Madden tenor 13 On Christmas Day Simon Preston 3.49 Soloist: Joanna Forbes L’Estrange soprano 14 On Christmas Night Philip Ledger 2.16 www.tenebrae-choir.com www.tenebrae-choir.com 2 3 Introduction from Nigel Short Love is always at the heart of the Christmas message the length and breadth of the country by either and it became clear to all of us involved with this providing beautiful music for choirs to sing My love of Christmas music stems from my own recording that all of the composers represented or by devoting themselves in some way to experience as a chorister, singing all the traditional had/have a deep felt love for both their subject choirs singing beautifully.
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The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces.
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Canto Fratto Repertoire of Benedicamus Domino in the Manuscript Cantionales from the Convent of Bernardine Nuns in Kraków
Kwartalnik Młodych Muzykologów UJ No. 36 (1/2018), pp. 33–52 DOI 10.4467/23537094KMMUJ.18.015.9018 www.ejournals.eu/kmmuj Andrzej Edward Godek Jagiellonian University in Kraków Canto fratto Repertoire of Benedicamus Domino in the Manuscript Cantionales from the Convent of Bernardine Nuns in Kraków Abstract The Archive of St Joseph’s Convent in Kraków contains a collection of musical manuscripts, which have not been studied before. Among books of liturgical use, such as graduals and antiphonaries, there are also small cantionales, full of canto fratto repertoire. The majority of these sources originate from the Convent of Bernardine Nuns in Kraków; however, there are also at least two manuscripts from the Convent in Wilno. The aim of this paper is to present canto fratto repertoire of Benedicamus Domino found in the 18th and 19th century liturgical manuscripts from the Convent of Bernardine Nuns in Kraków. The author indicates sources of studied melodies based on the wide range of liturgical manuscripts from the 18th and 19th centuries—especially from convents of Bernardine Nuns in Poland, as well as from the Convent of Benedictine Friars in Staniątki—and compares it to the dispersal of canto fratto settings of ordinarium missae. Finally, the paper presents complete index of Benedicamus Domino melodies in the annex. Keywords Canto fratto, Benedicamus Domino, Bernardines, liturgical manuscripts 33 Kwartalnik Młodych Muzykologów UJ, No. 36 (1/2018) 18th-century monody in the area of Poland is a broad issue, but extraor- dinarily not represented in the contemporary musicological studies. Exceptional attempts to examine canto fratto repertoire are strictly con- nected with the incomplete knowledge of sources (especially in terms of Eastern Borderlands).1 The term “canto fratto” refers to monody composed and performed since the end of the 17th century to the 19th century, which has different features than the style that is typical for plainchant.
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Pastor Hal LESSONS and THEMES for the LIVING OUR MONTH of FEBRUARY BAPTISM…
Dear Friends: of the Roman Catholic Church. It provides both a structure to our Last month we worship and an important meaning. began our While the ELW has ten different series on “settings” offering a variety of musical liturgy and and lyrical forms the basic order or Luther’s comments regarding the Mass. structure follows that of the mass. The Mass has its origin in the practice Here is a side-by-side comparison. The Latin Mass . The German Mass Introit / Psalm …………………………… Spiritual Song (or Psalm in German) Kyrie eleison…..…………………………. Kyrie eleison (three times) Gloria in excelsis Prayer (or collect).. ………………………Collect Epistle ……………………………………..Epistle Gradual (two verses) ………………….. .German Hymn (by choir) Alleluia Sequence Gospel ……………………………………..Gospel (read facing the people) Nicene Creed………………………… …..Creed (sung in German) Sermon ………………………………… …Sermon (on the Gospel) Preparation of bread & wine […] ………………………………………….Paraphrase of Lord’s Prayer Preface […] …………………………………………..Exhortation to communicants Blessing of bread & wine ……………. …..Consecration of bread … i.e., Words of institution […] ……………………………………………Elevation of Body of Christ […] ……………………………………………Distribution of Body of Christ Sanctus …………………………………….. Sanctus (in German) […] ……………………………………………Consecration of wine […] ……………………………………………Distribution of Blood of Christ […] ……………………………………………Sanctus (in German) Benedictus Lord’s Prayer Peace Agnus Dei Post-communion collect …………… ……...Thanksgiving Collect Salutation … i.e., “The Lord be with you,” etc. Benedicamus domino Benediction …………………………. ………Aaronic Benediction While the above comparison between the Latin and German Mass may seem, now a bit confusing, and some of the terms, not ones you have seen before, rest assured the explanation and meaning will be revealed in the upcoming months. Pastor Hal LESSONS AND THEMES FOR THE LIVING OUR MONTH OF FEBRUARY BAPTISM….. Five gifts of discipleship.
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Singing Monastic Vespers Webinar
Singing Monastic Vespers: a 4-part Webinar Dom Benedict Andersen, OSB Dr. Jennifer Donelson-Nowicka Priest-monk of Silverstream Priory Associate Professor and Director of Sacred Music County Meath, Ireland St. Joseph’s Seminary (Dunwoodie), New York CenacleOSB.org JenniferDonelson.com Sponsored by the Sacred Arts Guild of Alberta – Alane Boudreau, moderator Overview 5:00-5:40 - Lesson 5:40-6:10 - Sing Vespers Hang around for Q and A afterwards if you’d like 4 Parts Psalms and Psalm Tones Antiphons and Complex Psalm Tone Endings Hymns, Responsories, and Magnifcats How to sing diﬀerent feasts and seasons after the webinar ends Overview Today 5:00-5:40 Spiritual refection Overview of the Structure of Vespers Some Preliminary Resources More will be shared in the 4th session of the webinar How Psalm Tones Work Singing Psalm Tone 2, 8G, and 7c2 Some Spiritual Considerations Rule of Saint Benedict, chapter 19: Psallite sapienter — Cum tremore — In conspectu Angelorum (Ps. 46, Ps. 2, Ps. 137) The context of Temple worship: cosmic, model of creation “Lights to divide the day and the night” (Gen. 1:14): Day four, the menorah “The light shines in the darkness … “In him was life, and the life was the light of men … The Word was made fesh and pitched his tent among us” (Jn. 1) “He camest, Bridegroom of the Bride / As drew the world toward eventide…” (Creator alme siderum) “My prayer as incense … the lifting up of my hands, an evening sacrifce” (Ps. 140) “The Theotokos, the Mother of the Light” (Byzantine Orthros): Mary/Cross/Incarnation Monastic Vespers: Structure The Opening Versicles “Deus in adjutorium meum intende …” “Gloria Patri” and “Sicut erat” “Alleluia” or when forbidden, in its place: “Laus tibi Domine Rex æternæ gloriæ” Pater, Ave According to a longstanding tradition, before the hour begins, the Pater and Ave are said silently.
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BELOW Are Some Excerpts from Tres Abhinc Annos, a Document
II. Prayers in the Mass 4. In the Mass only one prayer is to be said;; depending on the rubrics, however, there is added before the single conclusion: a. the prayer proper to a rite (Codex rubricarum no. 447);; the prayer from the Mass for the profession of men and women religious, displacing the Mass of the day (Rubr. spec. Missalis no. 447);; the prayer from the votive Mass Pro sponsis displaced by the Mass of the day (Codex rubricarum no. 380). b. the prayer from the votive Mass of thanksgiving (Codex rubricarum no. 382 and Rubr. spec. Missalis);; the prayer for the anniversaries of the pope and the bishop (Codex rubricarum nos. 449-450);; the prayer for the anniversary of the priest's own ordination (Codex rubricarum nos. 451-452). 5. If in the same Mass several prayers were to be required before the single conclusion, the only one added is the one most in keeping with the celebration. 6. Instead of an imperated prayer, the bishop may insert one or more intentions for ELOWparticul aarer nee dsomes into th eexcerpts general inter cfromessions .Tres Abhinc Annos, a document issuedIn them by by deBugnini’scree of the con feConsiliumrence of bishops inonten tio4n s Mayalso ma y1967. be inclu de dThe for entire B civil rulers (now used in various forms in the different countries) and special documentinte nshouldtions for th ebe pa rread,ticular n ebuteds o thesef a natio nexcerpts or region. will show that the Mass was alteredIII. C hinan g1967:es in the Order of the Mass 7.
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C..Lo.L2 Zoot..{ Tuesday, March 2, 2004, 7:30 P.M
COH?AC\ University of Washington School of Music D\SC. I COLLEGIUM MUSICUM c..lo.l2 Zoot..{ Tuesday, March 2, 2004, 7:30 p.m. Kane Hall, Room 220, UW Campus 3-2. Collegium Musicum An Italian Vespers Music/or Palm Sunday Vespers/rom Florence circa 1500 Doug Fullington, director CD Pued hebreorum (2 ',oX) Phillipe Verdelot (c 1470-1552) Jason Anderson Patricia Collins o Deus in adjutorium ( <72-:08') Chant Jayne Drummond Antiphon J: Dixit Dominus Chant Siu-Yin Mak Psalm 109: Dixit Dominus Chant Sarah McDonald Antiphon J: Dixit Dominus Chant Markdavin Obenza Antiphon II: Magna opera Domini Chant Krysta Waters Psalm 110: Confitebor tibi Chant Jennifer Webster Antiphon II: Magna opera Domini Chant Antiphon V: Deus autem noster Chant Psalm l13~ In exitu Israel Phillipe Verdelot Antiphon V: Deus autem noster Chant Capitulum: Fratres: Hoc enim sentite Chant Hymn: Vexilla Regis Guillaume Dufay (c. 1400-1474) Magnificat antiphon: Scriptus est enim Chant Magnjfiq~t"" ___......"".. Chant with fauxbourdon Magnifica! c.ntiphon: Scriptus est enim· chant Collect: Omnipotens sempiterne Deus Chant Benedicamus Domino Guillaume Duray Ave regina caelorum Gilles Binchois (c. 1400-1460) Collect: Protege, Domine Chant Fidelium animae Chant There will be no intermission. Please hold any applause until the conclusion ofthe program. During Spring Quarter 2004, the Collegium Musicum will meet on Monday and Wednesday, 1:30-2:20 p.m. Interested UW students are encouraged to contact Doug Fullington for an audition, [email protected]. Program Notes: The music you will hear this evening is a combination of chant from the liturgy of Palm Sunday Vespers and polyphony set by composers who were active in or around Florence circa 1500.
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VESPERS for TRINITY SUNDAY
GONVILLE & CAIUS COLLEGE CHAPEL Easter Term 2021 VESPERS for TRINITY SUNDAY Vespers is the sixth of the seven prayer services of the Christian day. Its name comes from the Latin vespera, which means ‘evening.’ When Thomas Cranmer created the English Prayer Book in 1549 and 1552 he combined Vespers with the night service (compline) into the service we know as Evensong. Magnificat is the Gospel Canticle of Vespers, as Nunc Dimittis is the Gospel Canticle of Compline. The service ends with a traditional antiphon (a special seasonal text, from which comes our modern word ‘anthem’) in honour of the Blessed Virgin Mary. For this service, all persons present worship as a single body. Please sit, stand, and kneel with the Dean, except for the Little Chapter, Reflection and Prayers, when you remain seated (with the choir) Sunday 30th May LUCERNARIUM (The Lighting of the Lamps) Thy word is a lantern unto my feet and a light unto my paths. Thou also shalt light my candle the Lord my God shall make my darkness to be light. The light and peace of Jesus Christ be with you and with thy spirit. Light Prayer Blessed art thou, Sovereign Lord, God and Father of our Lord Jesus Christ, to thee be glory and praise for ever. Thou hast called us out of darkness into thy marvellous light that our lives may reflect thy glory and our lips repeat thy song: Blessed be God, Father, Son and Holy Spirit. HYMN LUCIS Creator optime O BLEST Creator of the light, lucem dierum proferens, who mak'st the day with radiance bright, primordiis lucis novae, and o'er the forming world didst call mundi parans originem: the light from chaos first of all; Qui mane iunctum vesperi Whose wisdom joined in meet array diem vocari praecipis: the morn and eve, and named them Day: taetrum chaos illabitur, night comes with all its darkling fears; audi preces cum fletibus.
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Leaflet (Bulletin) for Holy Eucharist, Sunday, June 5, 2011
The Seventh Sunday of Easter: The Sunday after Ascension Day the holy eucharist june 5, 2011 eleven fifteen am WASHINGTON NATIONAL CATHEDRAL The Reverend Canon Jan Naylor Cope, presider The Very Reverend Samuel T. Lloyd III, gospeller The Reverend Olivia Hilton, assistant The Reverend Canon Mary Sulerud, preacher The Cathedral Choir carillon prelude All hail the power of Jesus’ Name! Coronation; arr. Albert Gerken (b. 1938) organ voluntary Praeludium et Fuga in E, BWV 566 Johann Sebastian Bach (1685–1750) welcome introit Coelos ascendit hodie Charels V. Stanford (1852–1924) Coelos ascendit hodie, Jesus Christus Rex gloriae, Alleluia! Sedet ad Patris dexteram, gubernat coelum et terram, Alleluia! Jam finem habent omnia, Patris Davidis carmina, Alleluia! Jam Dominus cum Domino, sedet in Dei solio, Alleluia! In hoc triumpho maximo, benedicamus Domino, Alleluia! Laudatur Sancta Trinitas, Deo dicamus gratias, Alleluia! Amen. Today Jesus Christ, the King of Glory, has ascended into the heavens, Alleluia! He sits at the Father’s right hand, ruling heaven and earth, Alleluia! Now are David’s songs fulfilled, now is the Lord with his Lord, Alleluia! He sits upon the royal throne of God, in this his greatest triumph, Alleluia! Let us bless the Lord: let the Holy Trinity be praised, let us give thanks to the Lord, Alleluia! Amen. The Entrance Rite hymn at the procession - 450 All hail the power of Jesus’ name Coronation opening acclamation Alleluia! Christ is risen. The Lord is risen indeed. Alleluia! song of praise Now has Christ truly risen Personent hodie the collect for the day The Lord be with you.
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Catalogue of Newberry Library Mexican Choirbooks (Case MS VM 2147 C36)
Catalogue of Newberry Library Mexican Choirbooks (Case MS VM 2147 C36) ANONYMOUS. hoc est Jamentationibus leremiae," Ars musica, ed. Michel Robert-Tissot {American lnstitute of Musicol Alleluia quarto tono, a 5. IV, 9lv-92. Black breves in top ogy, 1974, CSM, 20), p. 100 = ch. 15, line 6). Among voice equal the plainsong for the Alleluia in LU, 1961 others, Andrés de Torrentes and Cristóbal de Morales 11 ed., p. 776 (Mass of the Paschal Vigil). Lower voices in Toledo Choirbooks XVIII and XXI still used the begin with an imitative point paraphrasing the Spanish tone. plainsong. Dixit Dominus, a 4 (verses 1, 4, 6, 8). Tone l. 1v, 12v Alleluia quinto tono, a 5. IV, 90v_9J. Breves in bass be l 7. Concordance: anonymous setting in the Carmen gin with same ten notes as the antiphon in LU, 1961 Codex, pp. 64-69 (Jesús Bal y Gay, Tesoro de la mú ed., p. 261 ("Crucifixus surrexit a mortuis"). sica polifónica en México, 1, 35-40). However, music Asperges me, a 4. IV, 42v-45. for verse I in Newberry equals music for verse 2 in Benedicamus Domino, a 4. rv, 99v_100. Notated in el> Carmen. (3/4); reminiscent of Puebla Cathedral Choirbook 1, Domine ad adjuvandum, a 4. 1v, zv_3_ Harmonization 46V-47. of Festal Tone (LU, 1961 ed., p. 250), ending with Benedictus, a 5. 1v, 92v_93_ Alleluia. Cibavit eos !ex adipe frumenti]. a 4. 111, 7JV-73. Three Domine ad adjuvandum, a 5. 111, 74•-75; IV, íii'- 2; v1, faster voices o ver plodding bassus. Schleifer, p.
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