LATIN MASS HYMNAL A Concise Guide to the Novus Ordo Mass for Catholic Parishes Tex t Text St. Peter Parish Jubilate Deo Mass Setting Washington, Virginia Special thanks to Father Paul Dudzinski and to the dedicated volunteers who created this hymnal: Brian Bartoldus, Candy Bartoldus, Dongwhan Choe, Emily Guinivan, Lucy Guinivan, Sarah Shafer, Marion Smedberg, and Susan White. Text Text Latin Mass Hymnal (ver. 3) © 2009 P. Dudzinski, B. Bartoldus, C. Bartoldus, D. Choe, E. Guinivan, L. Guinivan, S. ThisShaFer, hymnal M. Smedberg, was prepared and S. White for parishes re-introducing Gregorian chant where there was a preference for a modified standard notation. It does not include the ICEL new English translations because they were not availableAll rights reserved. at the time. No part The of authors this book grant may bepermission reproduced and or used encourage in any Form use or by any means--graphic, electronic, or mechanical, including photocopying, recording, taping, (i.e.,or inFormation copying, storage printing, and distribution retrieval systems at cost) – without of all writtenor part permission of this hymnal.. Requests For permission should be directed to: Special thanks to the dedicated volunteers who created this hymnal: CandyTextFr. Paul DudzinskiBartoldus, Susan White, Marion Smedberg, and Susan White, Saint Peter Parish BrianP.O. Box Bartoldus, 27 Emily Guinivan, Lucy Guinivan, Sarah Shafer, and DongwhanWashington, VAChoe. 22747 (540) 675-3432 133 Table of Contents Hymn Index Adóro te devóte ………………………………………………………… 96 Introduction………………………………………………… 3 Allelúia, lapis revolútus est…………………………………………. 80 Ánima Christi……………………………………………………………. 104 Aspérges me…………………………………………………………….. 50 PreFace………………………………………………………… 5 Atténde Dómine………………………………………………………… 60 Ave María [Antiphona]……………………………………………….. 121 Ave María [Responsorium breve]……………...…………………. 120 Ave Maris Stella………………………………………………………… 118 Order of the Mass and Jubilate Deo Mass Ave Verum Corpus…………………………………………………….. 102 Settings ……………………………………………………….. 6 Benedíctus es…………………………………………………………… 86 Cantáte Dómino………………………………………………………… 106 Ecce panis Angelórum…………………………….………………….. 100 Eucharistic Prayer I……………………………………. 27 Exultémus et lætémur…………………………..……………………. 82 Eucharistic Prayer III…………………………………. 33 Glória, laus, et honor………………………………………………….. 72 Gustáte et vidéte………………………………….……………………. 90 Hodie Christus natus est…………………………………………….. 54 Alternative Mass Settings ……………………………….. 46 Hosánna fílio David…………………………………………………… 70 Jesu dulcis amor meus……………………………………………….. 66 Jesu dulcis memória………………………………………………….. 56 Hymns …………………………………………………………. 50 Magníficat………………………………………………………………… 114 Miserére et parce………………………………………………………. 64 Nunc dimíttis……………………………………………………………. 58 Prayers for BeFore and AFter Mass ……………………. 122 O panis dulcíssime……………………………………………………. 92 O Salutáris Hóstia……………………………………………………… 98 O Salutáris Hóstia (v. 2)……………………………………………… 99 Latin Pronunciation Guide……………………………….. 126 Panis angélicus………………………………………………………… 94 Parce Dómine……………………………………………………………. 62 Qui bíberit……………………………………………………………….. 68 Guide to Gregorian Notation……………………………. 128 Regína cæli……………………………………………………………… 84 Roráte cæli………………………………………………………………. 52 Te Deum………………………………………………………………….. 108 References…………………………………………………….. 130 Ubi cáritas…………………………………………..…………………… 74 Veníte post me………………………………………………………….. 88 Vexílla regis……………………………………………………………… 76 Hymn Index…………………………………………………… 131 Vidi aquam………………………………………….…………………… 78 132 References Abbatia Sancti Petri de Solesmis. Cantus Selecti. Tournai: Desclée and Co., 1949. Abbatia Sancti Petri de Solesmis. Liber Cantualis. Sablé-Sur-Sarthe, France: To facilitate congregational participation in the Latin Mass, this booklet Consociato Internationalis Musica Sacrae, 1978. has been assembled to include: Abbaye Saint-Pierre de Solesmes. The Gregorian Missal for Sundays. o The Order of the Mass in Latin (with explanations and literal Solesmes, France: St. Peter’s Abbey, 1990. translations in English) [Only the Ordinary (the unchanging Benedictines of Solesmes (ed). The Liber Usualis with Introduction and part) of the Mass is included; the Latin Propers (those Rubrics in English. New York: Desclée Company, 1963. prayers which change according to the day upon which the Mass is celebrated) are contained in the Liber Usualis and Britt, Matthew. The Hymns of the Breviary and Missal. New York: Benziger the Gregorian Missal.] Brothers, 1922. o Chant in modified standard notation within the Order of the Mass. Herbermann, Charles et.al. [eds.] The Catholic Encyclopedia. New York: o Hymns in both standard modiFied notation and Gregorian Robert Appleton Company, 1909. notation, along with guides to Latin pronunciation and Gregorian notation. Hiley, David. Western Plainchant: A Handbook. OxFord: Clarendon Press, 1993. o Literal translations directly below the music text to aid in translating/understanding the Latin. Monks of Solesmes and C.E. Spence. Chants of the Church: Selected Gregorian Chants. Toledo, OH: Gregorian Institute of America, 1953. The musical settings For the modiFied standard notation may be found in chant notation within the Liber Cantualis (Solesmes, 1978), the Smedberg, Marion. Understanding the Latin Mass: Hear and Learn the Gregorian Missal (Solesmes, 1990), and the Liber Usualis (Solesmes, Words of the Novus Ordo. Sterling, VA: Understanding Latin, 2006. 1963). The Liber Cantualis reFerences are located at the top right oF the standard notation settings of this booklet. Socias, J. [ed.]. Cantate et Iubilate Deo: A Devotional and Liturgical Hymnal. Princeton: Scepter Publishers, 1999. The literal translations of the Latin Mass Ordinaries are taken From Understanding the Latin Mass (Marion Smedberg, 2006) and are used with permission. For further inFormation on-line: Canticum Novum http://interletras.com/canticum/Eng/index_tecnic_ENG.html Recordings on compact disc of the parts oF the Mass which are chanted Musica Sacra www.musicasacra.com by the congregation are available by request. 2 131 Custos: Indicates what the First note will be on the next line. Introduction Flat: Remains in eFFect For as long as the word lasts, up to the next bar line of any kind, or until cancelled by the Did the Catholic Church do away with Latin in the Mass with the changes natural sign (whichever comes First). that occurred during the Second Vatican Council? There are many who Mode: Roman numeral indicates mode (medieval system of scales). There are think that the use ofPage English left inblank the forMass individual not only parish replaced Latin, but that 8 modes in Gregorian chant (I through the use of Latin is also forbidden. to insert This introduction could not be farther from the truth. VIII) The fact is that the Document on Sacred Liturgy written during the Council (Sacrosanctum Concilium) advocates the celebration of the Mass in Latin. Bars (signs of pause) Indeed, the Second Vatican Council Fathers insisted that the use of the Latin language be preserved in the Latin Rites (Sacrosanctum Concilium, 36). Even as he convened the Council, Blessed John XXIII insisted on using Latin in the celebration of the Sacred Liturgy (the Mass). The Document on the Sacred Liturgy requires that pastors, among others, should enable the faithful to say or sing together in Latin those parts of the (a) Quarter bar: Separates clauses in the text. No breath, unless necessary Ordinary of the Mass belonging to them, e.g., the Kyrie, Gloria, Sanctus, (b) Half bar: Separates members of phrase. Almost always implies taking Pater Noster, and Agnus Dei (Sacrosanctum Concilium, 54). This same breath. Do not add extra beat in rhythm. IF breath must be taken, take document praises the singing of Gregorian Chant by asserting that the value ofF of the note beFore the bar. (c) Full bar: Separates phrases. Slight slowing of movement beFore bar. Church acknowledges Gregorian Chant as proper to the Mass of the Silence of brieF duration aFter bar.* Must take breath. Roman Rite. All things being equal, chant should be given a pride of place (d) Double bar: Indicates end of a piece or one of its principal parts. Also in liturgical services (Sacrosanctum Concilium, 116). Pope John Paul II, of used to mark place where 2 choirs alternate. Silence of brieF duration aFter pious memory, promoted this, as Pope Benedict XVI does today. In fact, bar.* Must take breath. our Holy Father, Pope Benedict, has stressed this point in his many talks on the Sacred Liturgy. While upholding the use of Latin in the Novus Ordo * There may or may not be a rest (1 or 2 count) aFter a Full or double bar. Rules vary. Follow choir director. In general there is silence of one count placed (the new rite promulgated by Paul VI in 1970), he instituted the Tridentine after the bar iF the new phrase begins on the up-pulse, and a silence of 2 counts Mass as an extraordinary rite, showing that Latin is still the language of iF the new phrase begins on a down-pulse. holy Mother Church. (asterisk) within text. Indicates one singer/choir Followed by another One question is frequently asked, i.e., “Why should we pray the Mass in singer/choir. Most often used in this hymnal as cantor beginning a piece, Latin when we cannot understand what we are saying?” The use of the Followed by all. vernacular in the Mass (for us, the use of English), when it correctly translates the Latin text, has helped many to understand what the Latin expresses. Yet we must be careful not to reduce worship to comprehensible words. Cardinal Frances Arinze,