Missa Cantata A Chant Mass for the Assembly (With Choir or Cantor)
Accompaniments by Geoffrey Cox
The English Translation of the Roman Missal (2010)
catholic truth society publishers to the holy see
Published by
THE CATHOLIC TRUTH SOCIETY 40-46 Harleyford Road, London, SE11 5AY website: www.cts-online.org.uk ISBN 978 1 86082 755 6 The English translation and the English adaptations of the chant melodies of The Roman Missal © 2010, International Commission on English in the Liturgy Corporation. All rights reserved. Performance indications © 2011, National Liturgical Music Board of the Australian Catholic Bishops Conference. Keyboard accompaniments © 2011, Geoffrey Cox. Compilation and layout © 2011, The Catholic Truth Society. Front cover image © Lorenzo Lees. This book is copyright. No part of this publication may be reproduced by any process without written permission. Enquiries should be addressed to the publisher.
Contents Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v Notes on Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi Kyrie XVI Greek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Gloria VIII Latin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Gloria XV English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Credo I English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Credo III English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Latin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Prayer of the Faithful . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Eucharistic Prayer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Sanctus XVIII (English) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Sanctus XVIII (Latin) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Memorial Acclamation 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Memorial Acclamation 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Memorial Acclamation 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
23 23 24 24 25
The Lord’s Prayer Tone A (English). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Doxology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tone B (Mozarabic) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tone C (Solemn Anaphora) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tone A (Latin) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26 27 28 29 30
Agnus Dei XVIII English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Latin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Preface In preparing the English translation of The Roman Missal (2010), based on the Missale Romanum, editio typical tertia (2002), the International Commission on English in the Liturgy (ICEL) has simultaneously made available English adaptations of all the chant that is provided in the Missale Romanum. While most of this chant is intended to be sung by the liturgical ministers, the Missale Romanum also includes some parts (such as the Kyrie, Sanctus, Agnus Dei and Lord’s Prayer) that are sung by the entire assembly. In addition to these, ICEL has provided complete musical settings in English of the Gloria and Credo, which are not normally found in the Missal itself. The English translation of The Roman Missal (2010) thus provides music for all the parts of the Mass Ordinary that can be sung by the assembly. Alongside the English adaptations of chant melodies made by ICEL, the new English translation retains the original Latin versions of the Sanctus, Agnus Dei and Lord’s Prayer, and the Greek version of the Kyrie. This is in line with the expectation that, alongside the vernacular, “the faithful may also be able to say or sing together in Latin those parts of the Ordinary of the Mass which pertain to them” (Second Vatican Council, Constitution on the Sacred Liturgy Sacrosanctum Concilium, 1963, para. 54). Chant melodies are traditionally sung without instrumental accompaniment, but the practice has developed of using organ or keyboard accompaniment for some of the parts sung by the assembly. This serves to support the singing, and thus to encourage “full and active participation by all the people” (Second Vatican Council, Constitution on the Sacred Liturgy Sacrosanctum Concilium, 1963, para. 113). The present volume provides accompaniments for the main chants in the Missal that are intended to be sung by the assembly. For the sake of completeness, it also provides accompaniments for Gloria VIII and Credo III in Latin. Short dialogues between the celebrant and the assembly (such as in the Introductory Rites, the Preface Dialogue of the Eucharistic Prayer and in the Concluding Rites) are not provided here with accompaniment, and it is recommended that these be sung unaccompanied. All of the chants in the present volume can be sung without accompaniment. It is hoped, however, that the provision of accompaniments will serve to encourage the continuing use of these Gregorian melodies, which represent a ‘core repertory’ for the assembly in singing the Mass. The melodies themselves provide a living connection between the new English texts and the Latin tradition of the Roman Rite.
Geoffrey Cox
Melbourne, August 2011.
v
Notes on Performance and on the Musical Notation The chant melodies are notated here, as in the English translation of The Roman Missal (2010), using the modern five-line stave with stemless note-heads. This is intended to encourage a natural accentuation of the texts, rather than a strictly ‘rhythmic’ interpretation. The accompaniments are similarly intended to support the natural accentuation of the texts, and a non-rhythmic notation has been employed (modelled on that used in the German liturgical songbook Gotteslob), using ‘open notes’ of indeterminate value. The organist / keyboard player is thus required to follow the flow of the melody, rather than reading strict note values. In view of the use of ‘open notes’ in the accompaniments, and in order to avoid confusion, dots and occasional episemas have been added (in the older tradition of Solesmes, and as in current Vatican usage) to indicate the recommended slight lengthening of some notes, especially at the ends of phrases. The Gloria and Credo may be sung by the assembly throughout, or in alternatim. The alternatim practice is indicated here with sections marked ‘C’ for the choir or cantor, and sections marked ‘A’ for the assembly. The opening phrase is normally intoned by the celebrant or, if more convenient, by the cantor. Alternatim practice can be applied also to the Kyrie, as shown. In the Sanctus, especially when sung without accompaniment, the cantor may sing alone up to the first quarter bar, joined by the assembly thereafter. Similarly if the Agnus Dei is sung without accompaniment, the cantor may sing the opening words of each invocation. When accompaniment is used, however, it should be possible for the entire assembly to sing these chants throughout, provided that the opening phrase is first played on the organ (preferably in unison). This practice of introducing chants on the organ may also be applied to the Memorial Acclamations. The chants are presented here at a normative pitch for singing, but they may be transposed up or down as needed. When accompanying the cantor, the accompaniment should be kept light, and the melody line need not be doubled in the accompaniment if the cantor is confident. Accompaniment on the organ should generally be light, on manuals only for the parts marked ‘C’ for the choir or cantor. When supporting the singing of the assembly, however, the accompaniment should be strengthened (including the use of the pedals on the organ), but it should never dominate.
Geoffrey Cox
Melbourne, August 2011.
vi
Kyrie XVI (Greek) Melody: 11th-13th century
. . ß l========================= l l _wœ œ œ wœ œ œ _wœ œ œœ . =l l & œw œ œ wœ œ œ wœ œ œœ . l ll ll _ _w _w w w Íl œ. œ . ll w ll ww w ? l========================= ll œ . =l l C.
III
Accompaniment by Geoffrey Cox
Ky - ri
-
e,
A.
e - lé - i - son.
Ky - ri
-
e,
e - lé - i - son.
œ œ wœ œ œ wœ œ œœ .. wœ œ œ wœ œ œœ .. =l l ß l========================== ll œ & œ l l l _œœ ll _ _ _ _œ _w _w _œ . _w _w . œ Íl ll ll w w œ. ? =l l l========================== ll C.
Chris - te,
A.
e - lé - i - son.
Chris
-
te,
e - lé - i - son.
. œ. ß l========================== l l wœ œ œ wœ œ œ wœ œ œœ . =l l & wœ œ œ wœ œ œ wœ œ œ . l l l _w_w ll _ _w _w _ww _w w œ. œ . Íl ll ll œ. w ? =l l l========================== ll C.
Ky - ri
-
e,
A.
e - lé - i - son.
Ky - ri
-
e,
e - lé - i - son.
or
œ .. l l ß l=============== & wœ œ œ wœ œ œ wœ œ wœ œ wœ œ œœ _œœ= l ll _ w _ w w w w w Íl w w w œœ œœ . l l w l=============== ? =l l A.
Ky - ri -
e,
e - lé -
i - son.
1
Kyrie XVI (English) Text and melody: ICEL
C.
III
Accompaniment by Geoffrey Cox
.
A.
.
ß ======================== l & œw œ wœ œ œ wœ œ œœ . l l _wœ œ wœ œ œ _wœ œ œœ . =l l Lord,
have
mer
l
- cy.
Lord,
have
mer
- cy.
ll ll _ _w _w w w œ . œ. ll w ll ww w l? ll œ . =l l ========================
Íl
œ œ œ œ œ wœ œ wœ œ œœ .. wœ œ œœ .. =l l ß ========================== l& w ll w wœ l l l _ww ll _ _ _ _w _w _w _w _w _œ . œ . Íl ll ll w w œ. l? ll ========================== =l l C.
Christ,
have
mer
-
cy.
A.
Christ,
have
mer
- cy.
. œ œ œœ œ œ œ. ß l========================== wœ œ œœ . =l l & wœ œ wœ l l wœ œ w wœ œ. l l l _w_w ll _ _w _w _ww _w w œ. œ . Íl ll ll œ. w ========================== l? ll =l l C.
2
Lord,
have
mer -
cy.
A.
Lord,
have
mer
- cy.
Gloria VIII (Latin) Melody: 16th century
Accompaniment by Geoffrey Cox
## œ œ œ œ œ œ œ œ. œ. l l œ œ œ œ œ œ œ œ œ.= ß l======================== & œ _w _w _w l ll œ. w Íl # w ll w # ? = l======================== ll Gló - ri - a
V
in ex - cél - sis De - o.
C.
Et in ter - ra pax
ho - mí - ni - bus
A. C. ## œ œ œ œ œ œ œ .. œ . œ . œ . œ œ œ œ œ w œ . œ . . œ œ œ . =l l . w w œ ß l========================== ll w œ & œw œ _w œ . _œ . l l l ll ll w _ _ œ . œ. l l w . . œ w _ _ _ _ œ _ _ . w . w w œ œ Íl # w ll ll ll œ. œ. w # ? =l l l========================== ll ll bo - nae vo - lun - tá - tis.
Lau - dá
-
mus
te.
Be - ne - dí - ci - mus
te.
## œ œœ .. l l œ œ œ œ œ œ œ œœ .. œœ= .. œ œ ß l========================== l l wœ œ wœ œ œ _wœ œ _ & œ œ .. œw w _w _w _ œ l ll ll œ . _ w _ _ww _œœ .. _œœ .. w . w ww œ w Íl # l l l l w . œ w w l========================== ? # w ll ll = A.
A - do - rá
-
mus
te.
C.
Glo - ri -fi - cá - mus te.
A.
Grá -ti- as á -gi - mus
ti - bi
## pro - pter ma - gnam gló -ri - am tu - am. C. Dó - mi - ne De -us, Rex cae -lé - stis, ß l========================== l l wœ œ œ _wœ œ . œ œ _œœ .. œœ .= & _wœ œ œ œ œw œ œ _œœ .. œœ . l ll w œœ .. œ .. œ. œ . Í l # _w ll w w œ # w ? w = l========================== ll - po - tens. A. Dó - mi - ne Fi - li u - ni -gé -ni - te ## De - us Pa - œter oœ -œ mní œ œ œ œ ß l========================== l l wœ œ œ _wœ œ œ œ wœ œ œ .= & œw œ œ _wœ w w œ _œœ .. l ll _ww w . ww w œ Íl # l l ww w w ? # = l========================== ll
3
A - gnus De - i, ## Je œ- suœ œ Chri. - ste. C. Dóœ - miœ - ne Deœ - us, œ œ w œ œ œ œ œœ .. œœ .. = œœ . œœ .. l l w ß l========================== & w l _œœ .. _œœ .. l l w Í l # ww œ. œ. w ll # l========================== ? ll = Pa tris. Qui tol - lis pec - cá - ta mun di, ## Fí - li - us œ œ œ œ œ œœ .. œœ .. = ß l========================== & wœ œ œ œ œ _wœ œ œ _ œ_œ .. l l œw œ œ œ w œ w l l l _w _w _ww _œœ .. _œœ .. Íl # w w l l . œ ? # = l========================== ll
A.
## œ wœ œ œ œ œ œ .. œ . œ œ . wœ œ œ= . w ß l========================== ll & wœ œ wœ œ œ œ œ _œœ .. œœ . l ll _ _w _w _ w ww œ . . œ . _œ . _w œœ . Íl # w œ . l l ? # = l========================== ll mi - se - ré
-
re
C.
no - bis.
Qui tol - lis pec - cá - ta mun - di,
sú - sci - pe
## œ œ œ œ. œ. œ œ ß l========================== & _wœ œ œ œ _wœ œ œ wœ œ . _œ . l l _w œ œ œw œ œ _œœ .. œœ = . l ll w . w œœ .. œœ .. œ Íl # w œ. ll w w # w ? = l========================== ll w de- pre - ca - ti - ó - nem
no
-
stram.
A. Qui se - des
ad déx- te - ram Pa - tris,
## œ œœ .. œ .. l l wœ œ œ œ wœ œ œœ .. œœ .. =l l œ ß l========================== & œ œw _w _œ l l l _w ll œ . w _ _ _ w . . w œ Íl # œ . œœ l l œ. ll # l========================== ? ll =l l mi - se - ré - re
4
no
- bis.
C.
Quó - ni - am
tu
so - lus
san - ctus.
## œ œ œ w œ œ wœ œ œ œ œœ .. l l œ wœ œ œ œ _wœ œ _œœ œœ .. œœ .. = ß ========================== l& l _w _ww _œœ .. l l œ . _œ . Í l # _œœ _w w w œ l l ========================== l? # ll = A.
Tu
so - lus
Dó
-
mi
-
nus.
C.
Tu so - lus
Al -
tís
-
si - mus,
## œ œ œ .. œœ .. œ wœ œ œ œ wœ œ ß l========================== ll & œ _wœ œ œ œœ . = l ll ww œœ . œ. ww Í l # _w œ . ll # l========================== ? = ll Je
-
su
Chri
- ste.
A.
Cum San - cto
Spí
-
ri - tu,
## œ œ œ œ œ œœ .. œ .. l l œ œ ß l========================== & œ œ œ wœ œ œ nœ_œ .. _ w œœ .. =” œ œw œ œ w œ w _ l ll ” _ _ww _ww _œ . _œœ .. l l ww Í l # œœ _ww w œ . . œ. nœ . œœ . =”” w l========================== ? # ll in gló - ri - a
De - i
Pa
-
tris.
A
-
men.
5
Gloria XV (English) Text and Melody: ICEL
Accompaniment by Geoffrey Cox
C.
ß l========================= & œ œ œ œ œ œ œ œ . l l œw œ wœ œ œœ.. œœ wœ œ œ œ _œœ .. =l l Glo - ry to God in the high -est,
and on earth peace
to peo - ple of good will.
l
l l _w ll _ _ w . w . œ œ œ ll ll ? =l l l========================= ll
Íl
IV
A.
We
A.
we give you
praise you,
C. we
bless you,
A.
we a - dore
you,
C. we
glo -ri - fy
you,
& œœ wœ œ œœ . l l œœ wœ œ _œœ .. l l wœ œ wœ œ œ . l l œœ _wœ œ œœ œœ . =l l ß l========================== l ll ll ll ll . _ w _ œ _ w _ œ œœ .. w œ. ll œœ .. l l œ w œ ll ll Íl ww œ w w œ l========================== lll l lll l lll l ? =lll l C.
wœ œ œ . ß l========================== & œ wœ œ œœ wœ œ . l l œœ wœ œ _wœ œ œœ œœ = l ll _ œ w w w w œ _œ . w Íl l l _œ w w œ w ? = l========================== ll thanks
for
your
O God, al - might - y Fa - ther.
great
A.
glo - ry,
Lord
Lord Je - sus Christ,
God,
hea - ven - ly
King,
On - ly Be - got - ten Son,
& œœ wœ œ _wœ œ œœ œœ . l l œw œ œ œœ .. ß l========================== wœ œ œ wœ œ _œœ .. =l l l ll ll . . _ œ _ œ _ œ l l ww œ ww Íl ww œœ . l l w w œ. ll========================== ll ll ? =ll ll C.
.
A. you take
.
ß l========================== & wœ œ wœ œ œœ . _wœ œ œ œœ œœ . l l œ wœ œ wœ œ wœ œ œ œœ .= Lord God, Lamb of God,
Son of the Fa - ther,
a - way the sins of the world,
l ll _ . _ w _ œ _œ . w œ ww w w ww Íl œ. ll œ. w ? = l========================== ll
6
C.
œ. . ll ß l========================== & œ wœ œ œ _œœ .. l l œœ wœ œ _wœ œ wœ œ œ œ . _œœ wœ œ œ œœ= l l l _œ ll . _ _ w _ œ w . w w œœ w œ Íl w œ. ll ll l========================== ? ll =l l have mer - cy on us;
A.
you
you take a - way the sins of the world,
are seat - ed at the
right hand
of the Fa - ther,
re - ceive our
have
prayer;
mer - cy on us.
œœ wœ œ œ œ .. =l l ß ========================== l & œw œ wœ œ œ œ wœ œ œ œ œœ œœ .. _œ l ll . _ w _ œ _ œ w œ . w . w œœ l l Íl œ œ w œ w w w ========================== l? =l l C.
For
you
a - lone
are
the
Ho - ly
One,
A.
you
a - lone
are
the
Lord,
ß l========================== & œœ wœ œ _wœ œ œ wœ œ œœ . l l œw œ wœ œ œœ _œœ .. =l l
l
ll _ _œ _w _œ . l l _w _ww w œ . w œ œ œ ll w ll ? =l l l========================== ll
Íl
C.
you a - lone are the Most
High,
Je - sus
Christ,
A.
with the Ho - ly Spi - rit,
ß l========================== & œw œ wœ œ œ wœ œ _œœ .. _wœ œ _wœ œ œ . l l wœ œ wœ œ œœ œœ .. =
l
l l _w _ _w _w w ww œœ _œœ .. œ. w w ll w ? = l========================== ll
Íl
in the glo - ry
of God
the
Fa
-
ther.
A
-
men.
.” ß ========================== l & œ œ wœ œ œ wœ œ wœ œ œ _œ œ _œœ .. l l _wœ œ œ _wœ œ œ _œ . _œ= w _œ . œ . ” l l l w _ w ww ww œœ . l l w œ. œ . ” Íl w w w l========================== ? ll w œ . _œ= .” _w
7