A great prayer exercise for those involved in sacred music is to meditate on the texts of the propers (the changing prayers of the Mass) using the chant.
The western chant repertoire of the Church is an amalgamation of chants belonging to the different western rites, the final corpus being delineated by Pope Gregory the Great in the late 9th Century- giving it the nickname ‘Gregorian Chant.’ It would be a mistake to think that this is the beginning of the chant repertoire- the same mistake as thinking that the Tridentine Mass originates from the Council of Trent which simply codified and standardised the Latin Rite which can be traced back to the Apostles. Continue reading “Exaudi Domine, V Sunday after Pentecost”
1. Although every organist should aim to accompany chant directly from the neuems, the following link contains full Nova Organi Harmonia harmonisations of the Gregorian Ordinaries and Propers and more!
2. Chant Talk– Patrick Torsell, is Director of Music at Mater Dei FSSP Parish, Harrisburg, PA. He has some useful video tutorials on effective chant accompaniment in different modes.
A few years ago I was asked to give a lecture on the development not Sacred Music and its place in the liturgy. I considered writing this up as a series of articles, but Dr Kwasniewski has posted a lecture, remarkably similar to mine but better!
There are many reasons that I am blessed to be involved in Immaculate Heart Parish. Before I converted to Catholicism I had the pleasure of being involved in music making in the Anglican tradition and in my last post I inherited a strong choral tradition and had a beautiful three manual Mirlees pipe organ to play.
Still basking in the graces of the visit of the relics of St Therese to Scotland, we arrive today at her feast day (traditional calendar). As someone who has a particularly liturgical prayer life, I often look to the Mass and the Office for insights into the spiritual complexion of a feast.
A straightforward video post today. Here is the beautiful Credo IV performed by Schola Una Voce a few months ago. I first heard this setting of the creed in an album recorded by Westminster Cathedral Choir and particularly loved the organ accompaniment. There is just something heavenly about a major subdominant in mode I!
Vespers and Benediction are a perfect opportunity to continue our thanksgiving after Mass in the morning and to participate in more of the liturgical prayer of the Church.
For what to expect, click here. For insights into the connection between Mass and Vespers click here.
To whet your appetite, here is the hymn for Vespers on Sundays after Epiphany and after Pentecost, Lucis Creator Optime. Written by Pope St Gregory the Great in the second half of the 6th century, this hymn speaks of the first day of creation with the Vespers hymns for the rest of the week following likewise.
On this feast of the Assumption of the Blessed Virgin Mary, I wish to share the hymn from Second Vespers ‘Ave Maris Stella.’ This hymn dates back to the 11th century and is of unknown origin, although it is often attributed to St Bernard. It is, however, a much later rendering that I write of here, that of Marcel Dupre.
Life for church musicians and music directors is hectic. Often musicians are volunteers and balance work, family and church commitments while striving for the best quality of music for the liturgy. The demand of the liturgy is staggering. Secular choirs that I have worked with will take several months to prepare a concert, while we produce a whole hours worth of material every week!