EURIPIDES (cA, 185~Ca. 106 B.0..) Orestes: Stasimon chorus 2 Ee toe a bes $ oct ee thy =e co 21> Bente ‘verna, Btereciche Hasoniarhek apy 23% (or photograph ac HUM, p21. gc 13 Transipon of fragment rm Thomas Hate, Ago ye Greek Mscond Mase Trey in Ang onde Male Ages io avery of Nesta Pes, 1090) 17-18 Repired by perms- ‘Son of he Ue of Nera Pes. ©1999 by the Unies of Neha Press Fors dete aay {seep 7-20 Pronete Yaron by Tomas | Mesen © 2001 by Tamas. Matiese, 2 CURIPIDNS Orestes Stasimon chor atolophirome materos hema as hor anabakchewi ho megas olbos rmonimos embroti ana de lephos hor Usakatou thoas tinakae demon steKizen dinon pponon boos pontou You wil goilesses who dart aeross the skies seeking vengeance for murder. we implore you to free Agameramon's son From his aging fury. We grieve forthis hoy. Happiness isbriefamong morals Sorrow and anguish eweep down on it like a swift gust of wind on a loop, and insinks under the tosing seas ee ‘A small scrap of papyrus dating from the third century 8... contains seven lines ofa chorus from Orestes by the great Greek playwright Euripides, with musi- calnotation above the words. The tragedy has been dated 408 8.ce. It seems like- ly thatthe musie was composed by Euripides himself, who was renowned for his ‘musical settings, but we cannot be certain. This fragment of Greek music is cen- turies older than the Fpitaph of Seikilos (NAWM 1) but is presened second here because it poses greater difficulties in reading and reconstructing the music. Only the center of each line of text and music survives on the papyrus. The missing words can be restored from other copies ofthe play and are printed in brackets in this transcription. However, this papyrus is the only source for the ‘music. and many ofthe notes are missing. Any performance ofthe piece must be 4 reconstruction, conjeeturing what the absent notes might have been. The recordings that accompany this anthology include two very different reconstruc: tions, both bated on the assumption that the missing segments o! melody proba~ bly resembled the notes set to parallel portions of other lines of tae text. In a Greek tragedy, the chorus plays an important role, witnessing and com menting on the events ofthe drama, This song is stasimon, an ode the chorus sings while standing still in their place in the orchestra, a semicircular rim berween the stage and the benches ofthe spectators, In thie stasimon, the women ‘of Argos implore the gods to have mercy on Orestes, who murdered his mother ‘Cytemnestra six days before the play begins. He had plotted wit hs sister Electra to punish their mother for infidelity to their father, Agamemnon. The chorus begs. ‘that Orestes be released from the madness that has overwhelmed him since the murder. ‘The dochmaie shythm~six eyllables in the pattern short-short-short long- short-long-suffuses the poetry and predominates in the music. The dochmaic rythm was often used in Greek tragedy for passages of intense agitation and {grief 80 itis perfectly euited to this moment inthe play. Contemporary descriptions of Furipides’ music noted that he had a complex, somewhat disjunct melodie style in which the pitch contour and rhythm some- ‘times departed from the natural contour and rhythm of the text. This charactor, 2ation fits this melody, which jumps hack and forth between a lover and a higher range and inclides some zhythmic symbols that modify the textual chythm, Plutarch eredited Euripides with helping to introduce the chromatic genus nto. ‘tragedy. and thats also apparent in this melody. The notation inéicatesa mixture14 EURIPIDES Onstes:Stasimon chorus ‘of the diatonic and the chromatic (or possibly the enharmonic) genera. The voeal rmelody moves in therange to. combining diatonic tetrachordsone-f-g-a.and e*f-g'-a'with a chromatic tetrachord ona-br-bt- This combination exempli fies both Euripides’ fondness for chromatiism and his preference for complexi ‘ty, which tend to confirm him as the composer. Moreover. the chromaticism ‘combines with the dochmaie rhythm to convey the anguish of the chorus at this moment in the drama, ‘As noted above, itis possible to read the notation as indicating the enbarmon ie genus (which uses quartertones) rather than the chromatic. The transcription shown here and ene of the twa performances on the recordings render the small intervals as chromatic; the other performance renders them as enharmonic (the notes shown here as Bare lowered a quartertone. and Bis lowered to Bt) produc ing quite a different effect The chromatic performance is sung by unison male chorus. In the enaarmonie performance. a female singer (asoloiststanding in for the chorus) is arcompanied by an aulos (the double-reed instrument of the Greeks) playing in unison with the voice bu aso holding drones against it. slo. ‘were used to accempany Greek tragedy, but their precise function s unclear. Certain musici symbols in this setting are not associated with syllables of text The transcription and the chromatie performance on the recordings interpret these a5 notes for instruments. waich had their own letter notation. The sign ‘anseribed here as high g may simply indicate a break between lines of text and is omitted in the enharmonic performance. But the f- figure in lines g and 6 is clearly intended for instruments, read as an interjection between lines in the chromatic performance and asa change of drone inthe enharmonic. eee Mass for Christmas Day Crigorian chant Mass Christmas (rom “Christ-Mass"). known more formally as the feast ofthe Nativity of Our Lord, celebrates the birth of lesus It is one ofthe most important days in the ‘entire Christian church year. second only o Easter. To mark its great significance, ‘there are three Masses: the first at midnight, as part ofthe vigl that precedes the Iholy day itself; the second at dawn; and the third mid-morning, atthe wsual time for Mass (after the office service Terce, sung around g 4.m.). This isthe third ‘A Gregorian chant Mass includes a variety of elements~some sung. some intoned, and some spoken. Included here are only the portions of the Mass for Christmas Day that are sung by the choir. Some of these, the Proper chants Controit, Gradual, Alleluia, Offertory.and Communion}, have tests and melodies. that are unique to this day inthe church calendar. Tae ethers, the Ordinary chants (yrie, Gloria, Credo, Sanctus, Agnus Dei, and Ite, missa est), have texts that are sung in all or most Masses, but each Ordinary text his many musical setsings ‘Beginning in the thirteenth century. Ordinary chants were organized into eyelet with one musical setting for each text in the Ordinary except the Credo. The edi tion included here is from the Liter usualis, a book of prayers, lessons, and chants for the Roman Catholic services of the Mass and the Office that was first issued in 1896 by the Benedictine monks of Solesmes, France, Ths cycle is numbered IV in the Liter usualis, and the Credo~one of the oldest- is nambered I ‘The various elements ofthe Mass were added a different times, so each has its own history. Neither the chants of the Proper fora given day nor the Ordinary cycle shows any consistency of age or of mode. However, as is true for most feast days, the Proper chants inthis Mass are mich alder thin the Ordinary melodies, and the two groups differ somewhat in style. All the Proper chants are derived {rom psalm-singing, and a6 a result they tend to include passages of decorated recitation, centering around a single note with embellishing gestures (for exam ple, see the Introit at “et vocabitur nomen ejus,” the Gradual a “omnes fines ter- rae,” and the Alleluia at “sanetifieatusillusit"). They also tend to draw on a fund ‘of melodie motives common to chants in the sime mod, sign oftheir oral com position and transmission for centuries before the invention of notation. The Ordinary chants, in contrast, are more like composed melodies, with greater individuality, frequent stepwise motion, and little ree tation. The Kyrie, Gloria, Sanctus, and Agnus Dei included here were all composed after the system of eight ‘modes was established in the ninth and tenth centuries, and as a result each con forms closely to its mode, signaling it unambiguously in virtually every phrase (unlike the Credo, which is apparently much older) ‘ie, lv Sorts Agnus Dean te, isa stom Mas Mie ual Torn Desa. 1961 25-28 Ged rom ib 64-65 Propet eran Fom hs, 06-10. lesser Dosey om i 15-18 Rep by person of Se Seraverure Pubs ngiahartions othe rope om ‘he SaintAnreDoy sal, Dam Gas’ ees 053. (St Paul EM Lar Ca, 140, 36-40, Tarsaton fo: the Ory adopted trom We, 518-20, 523-26 53, 2nd 56 Repel by permsion.8 3 Garconnyy cnayy Mass Mass for Christmas Day INSTRUCTIONS FOR READING SOLESMES CHANT NOTATION The official Vatican etions of Gregorian chant, prepared by monks atthe Berede tine Abbey of Solesmes use @ modernized Chant notation based on late medieva forms The staff has four ines rather than five but flows the familar pincple of alternating ines ad spaces fore steps of the scale Act designates on ire aster rmiaale C () or the Fa fifth below it (. These ate not absolute but relate pitches singers ay perform the car's in any comfortable range lltnough inthe acco anying recording, most chants are per formed at written pte) Flat signs ar valid oni uni anew word begins: 2 vertical Svsion line apes “The nates are inate by neues which ray contain one or more noes Te basic notshope is square (a) rather thn round, reflecting the at quills of msi copys. Notes are assumed to have equal durations wit exceptions specified telow.Notesare read from lett ight 2 in taniard note tion except when wo noes are ick ver- tically (Bin which ease the lower note sung fist, Successive notes on the same Fiteh and syate ae sung as thos edo Slightly psd. Diamond-shaped notes (4) fe used in descending patter to sve space but have the same duration a square notes. Small note, called liquscent neumes |. (B.sonty closing the mouth or tongue on 2 ciced consonant such a5 ‘nom atthe fd ofa sjlabe diagonal tsk ofthe en. found in bleue neumes| NG). snot 3 lsando, but rater tiniest two notes the pitehes on which the stroke begins and (a) Introit: Puer natus est nobis nds A wavy Une uted in some ascending furs ale qulsma =) may have si nile an orametn Soles performing Soe its sung normaly, tte preceding Tote sgh engine The note Syme ({) atthe ere ofeach sat custo argue ts the reader 0 {heist note on the folowing Ine “re Sleses ecitors add interpretive sins toshoge te pevtormance oot afer 2 note duties salve, h oro ine Bove of below 3 ote (present in some redial sure) nates tat st be lengthened somewhat. Vertis! barnes delineate sections (double brine), pcos tt bane, pvass (alt baring), ane smal nts quarter Brine trough the top sa ine tht are val mores vse of vaniuslengins In Soesmes per forming sive, votes ae fely groupe in ‘was and thes (hood ate approaehs dre not sod) teers added vera Sots bel some noes 0 uagest where Suh groups shoul bein. Performances are aso guided by sys insted anor te words Mos chants re begun by the thi leader, he conto and an aterst (@) shows were the cantor Jone bythe est ofthe co Sees ae Bio set to show other changes of pet former=for example between two hae fe oot The Sons jane sma hurr? an 3), fund in the Kr and Ale inate tat the preceing mater alist be suna twice or tee tines Often these repetions te parfomed by er entqrup of singers a5 inthe Kye. 3 -GRIGORLAN Em ANT MASS Mass for Christmas Day [ar lie i Ange- lus. Ps. Can-té-te Démino cdnticum nd- a) See ee ae ee = vum : *qui- a mi-rabl- li-a f€ cit, Glé- & Lé. ri-a Patri, et Fili-o, et Spirritu-i Sancto. * a Spe Sic-ut érat in princf-pi-o, et nunc, et semper, et in —_—_—F saécu-la saecu-Ié.rum, A-men,10 Puer natus est nobis, fii dates est ‘Cantte Domina canicnm nowum: quia Goris Ptr, et Fillo, et Spit Sancta, 3. GREGORY CHANT MASS Mass for Christmas Day child is born tows, and a Sons given vo ‘us whose government ie cpon His shoul: and His Name stall be called the Angel uf geat counsel Pat verses Sing ye tothe Lord ewe ‘antici, because He hath done ‘wonderful things Dooly: Glory be to the Father. and 0 Siou erat in principio, et mune, et the Son, and othe Holy Spe. As i semper. ct in sacela sserlorum, as inthe beginning, is now, and Amen, ‘versal be, world withost end. Amen. nobis eas imperium sper humersm jue weabitur nomen es, magn! consis Angelus rials est ‘The sung portion ofthe Mass begins with the Introit (from Latinfor “entrance”). introduced into the Mase sometime between the fourth and seventh centuries. In the early Midale Ages the Intoit consisted ofa psalm preceded and followed by an antiphon (ax in NAWM 4a) and was sung during the entrance procession of those conducting the Mass. Itlater became the practice to sing the psalm after the priest and choir were in place. With no action to accompany the Introit the text vas shortened tothe following standard form: the antiphon, one palm verse. the Lesser Doxology (the formula praising God that is sung after every psalm), and a repetition of the antiphon, producing the form ABB'A. “two styles of chant appear in this and all other Introits. One syle. relatively simple and syllabic. is used to sing the psalm verse (indicated by Fs. after a dow bile barkine) and the Lesser Doxology. In this revtational manner the melody ‘holds mostly to one pitch the reciting tone ofthe mode, with opening rises and cadental falls. Most sllables have one note, and others have two or three. The other style, used forthe antiphon, isneumati, with up to seven nates per syllable, and is much more varied in contour. ‘This Intoit sin mode 7 28 indicated by the number above the initial letter in. ‘his score. Both antiphon and psalm begin with arising gesture from the mode's final. G. tits recitingtone, D,and end with descent back o G,creatingamelod i arch that is typical of chant. The antiphon often lingers on C, and some of the phrases cadence on A, two important secondary notes in this mode, Individual phrases tend to have an archlike patter, rising near the beginning, rotating around one or two notes relatively high in the range, then sinking toa cadence. ‘The entrance psalm was originally performed antiphonslly, alternating between eo halves ofthe chor. but in modem practice itis often sung responso rially, alternating between a soloist and the choir. The cantor sngs the opening (upto the asterisk), and the choir completes the antiphon. The psalm verse and Doxology are each begun by soloists (upc the asterisk) and finished by the choir. ‘The Doxology isnot written out in full in the chant books because the words were wellknown othe singers and because twas sung to the same melody asthe psalm. verse, only in three phrases rather than two, Instead, music is given for ony the first wo words (Goria Patn) and the last six syllables, abbreviated to their vowels. Bwouse (forsabeU2Orim AmEn). The Doxology is written out hereto show how itfits the music. After the Doxology the antiphon is repeated 3 GREGORIYY CANT MASS Moss for Christmas Day oi ) Kyrie 1é-i-son. §. Ky. Kyrie stein, Lond ave merey. Christeeleicon, Chiat have mere. Kyrieeleiton.— Londtbive mere. Alter the Intro, the choir sings the Kyrie. The Kyrie is the only chant from the Mats whose text ie in Greek, showing its origin inthe Byzantine Chareh, Among. ‘he musical settings of the Kyrie that may be sung on Christmas Day is this one from the tenth century, known as Kyrie Cunctiporens Genuor. (The name comes from an alternative text, known as itope, that can replace the words "Kyrie" and "Christe.") The invocation “Kyrie eleison” is sung three times: then “Christ lei son” is sung three times: then "Kyrie eleison” is sung three times again. Here, 2 new melody is introduced for each section, and the final statement repeats a phrase creating an overall form of AAA BBB CCC. The chant is classified as being in mode 1. This is very clear in the frst “Kyrie eleigon,” which bogins on the reciting tone A, circles around it, then gradually and repeatedly falls othe final D. The "Christe eleison” again starts on Aand gradual Iyfallsto D, However, the remaining statements of “Kyrie eleison” reverse course, springing up to, circling around it, and ending on A. The pattern ofsteps around A (whole step below, whole step and half step above) is the same asthe pattern aroand D, so that medieval theorists recognized Aas aco:final for mede Because oftheir very short text, most Kyres are melismatic (with melismas of ‘many notes on several syllables). like this one. A few Kyries, used for Masses that areneither on Sundays noron feast days, are syllabic to neumatic. he Kyrie was originally sung in processions and took the form of a litany. in which the whole group repeats a short prayer in response to a leader. By the un2 3 Garwonray en vay Mass Mass for hosts Day m1 Midale Ages, Kyries were often performed antiphonally, in alternation between two halves of the choir, a illustrated on the accompanying recording. The cantor begins the first "Kyrie eleison,” joined at the asterisk by one half (choir ): the other half (choir 2) repeats the “Kyrie eleison’ then the two choirs alternate. In the final statement of "Kyrie eleison,” choir sings tothe asterisk, choir 2 sings to the double asterisk, and both join together on “eleison.” (©) Gloria 3 GRLCOREAN CHANT Mass Mass forChristnas Day oy 3 ra ay a — ta mindi, stiscipe depreca-ti pe oS i-énem néstram. Qui sédes inexcélsis Dé- 0, Et in térra pax ho- 7 =e 2 us bénae volunté-tis, Lauddmus te, Bene-di-cimus ad déxteram Patris, mi-se-ré-re n 5 Fate : i EE ay a= sélus sanctus. Tu sélus Déminus, Tu sé-lus Altissimus, L & 7 roe i Jé& suChii- ste, =a = = te. Ado-ré-mus te, Glo-ri-ficd- mus te. Gré-ti- as St Agimus ttbi_ propter magnam gié- ne Dé-us, Rex caeléstis, Dé- us Pé- ter omnf-pot-ens. Démine Fi-li uni-géni-te Jé- su Chri- — a ne Dé-us, Agnus Dé-i, Fi li-us Pa- tri lis peceé'ta mundi, mi-se-ré-re né-bis, Qui téllis peced- tb =a rica Dé-i Pé- tris, A- Cloris in excelsis Deo Evin terra pax minibus bonae volunttis Laudamus te. Benedicimus te. Adoraaus te Glorificams te. Gratis agimus ii propter mageam sforiam twam. Domine Deus. Rex eaelestis, Deus Pater omnipotens Domine Fil unigenite Jesu Christe Domine Deus, Agnus De, Fis Pati. Qultollispeccata minds, miserere nobis. Qui tole pecesta mundi, sucipe ddepreeationem nostra, (Qui sedes ad desteram Paris, miserere nobis (Quoniam ru solus sanctus. Tu solus Domine Tu lus Alissimus. Jesu Christe Cam Sancto Spits In Gloria Dei Ptes, Amen, Glory be 1 God on high And on earth peace to men of good wll ‘We praise thee, we bess thee, we adore thee, we glory thee. ‘We give the thanks fr thy great glory O Lord God, King of heaven God the Father Almighty. O Lord, the only begotten Son, Jesus Christ. (Lord God, Lamb of God, Son of the Father ‘Thou who takestavay the sins ofthe word, have merey onus, ‘Thou who takest away the sins ofthe ‘world, reeeve ou prayer Thou who sttest tthe right hand ofthe Father, have merey on ts For thou only ar holy, ‘Thou only art Lord ‘Thou ony art most igh, O Jesus Chis, With the Holy Spi, Inthe glory of God the Father. Amen“ 2 Garcons cnant Miss Mas for Chrismas Day aT The Gloria, or Greater Doxology, is text that praises God. states the doctrine of | the Trinity. and asksfor merey. The first two phrases quote the words of the angels announcing Jesus’ birth to the shepherds (Luke 214). The rest ofthe words are ‘nonbiblial, arrange! in several series of parallel phrases of glorification, naming the Father and Son, supplication, and praise, The Gloria is sung only on Sundays land feast days and is omitted in the seasons of Advent (before Christmas) and Lent (before Easter), Thus its presence add to the festive quality of the Mass for (Christmas Day, eepesilly after having been absent during the preceding weeks. Because the text slong, no Gloria melodiesare melismatic; most, including this ‘one, are neumatic, and 2 few are largely syllabi. This tenth-century melody is in mode 4, closing on Fand moving in an oetave from a third below ta sixth above ‘The mode is clear throughout because almost every phrase closes on the final ‘There is no standard pattern of repetition for Gloria melodies, but in this Gosia the saine micldic ideas recur repeatedly. often varied: for example. look and listen for the many variants of the motive first heard at "bonse voluntatis." Remarkably, references to the three aspects of the Trinity are all hghlighted with the same motive, which occurs nowhere else (the Father a: "Deus Pater ‘omnipotens.” the San at “Jesu Christe,” and the Holy Spirit at “Sancto Spirit’). ‘The Gloria andthe Credo are unusual among the chants sung by the choir in that they are begun by the priest officiating at the Mas rather than by the cantor. This is aholdover from their original role as texts to be sung bythe entire congregation, ‘After the Gloria, a prayer called the Collet is chanted, and thenthe Epistle (an extract from one ofthe leters ofthe apostle Paul tothe Hebrews) is recited. Both are vocalized with very simple formulas. (@ Gradual: Viderint omnes Grad. 5. Idérunt 6- nes * fines tér- rae sa- lu-té-re Dé i néstri LORIN CYNE MAYS Mans for Chats Day minus salu- re sii. um: ante conspéctum génti- um re= ———+ > Rai qe vit ® justi- tis am sii-am, All he ends ofthe earth have seen the salvation of our God sing joyfully (od sll he earth ¥.The Lord hath made known His salvation; He hath revealed His justice {nthe sight ofthe peoples. ‘Viderunt omnes fines terrae slutare Det nostri jubilate Deo omnis terra ¥. Notum feit Dominss ‘saltare suum: ante conspeetam sgentium revelavitjustitiam suam, “This Gradual exemplifies responsoril psalmody, in which a soloist singing the psalm verse (Psalm 97:2 in the Latin Vulgate, 98:2 inthe Protestant Bible) alter- nates with a choir performing the respond (here taken from verses 3-4 of the same psalm). Unlike the Introit’s psalm verse, which followed a recitational for- mula, this verse ie extremely ornate, as wat characteristic of chants featuring soloists from the choir. The melody is clearly in mode §, with cadences on the final Fat the end of both respond and verse, a ange that extends an octave above the final and one step below, many phrases that eenter onthe reciting tone C, and phrase-endings on Gand on A (hoth common in this mode). The note Bis often. flatted in this mode to avoid the trtone with F, Several flat signs appear in the ‘music; they r= valid only until the end ofthe word. Tn performance, the soloist (usually the cantor, sometimes another singer or two singers) sings the opening phrase and is joined hy the choir atthe asterisk, Then the soloist sings most of the verse, and the choir joins in again at the aster. ik. In the Miedle Ages, the respond was then repeated by the entire choir (for an ABA form), but in modern practice that repetition is often omitted.16 3.GALCOL AY CHYNT MASS Mass for Christmas Day {e) Alleluia: Dies sanctificatus es sancti-ficatus illxit né- z a ee “Rite. =p ve. nf-te géntes, et adord-te Démi- ES n descéndit lux ma- Sa re qui-a hé-di-e gna * super tér- ram. ‘Alla Alleluia Dies eantifiest iat nobis: vente gentes et adorate Dominum: quia die deseendit hax magna supe terran. Aleta Allelus ¥.A sanctified day bath shone upon uss come ye peoples, aid adore the Lords for thisday a great ight ath descended upon the earth y= During most of the year, the Alleluia, another responsorial chant, comes aftr the Gradual. Asin the Gradual, soloistsings the pealm verse, and the choir responds with “Alleluia” (from the Hebrew Hollelyjah, meaning "praise Yahweh,” or "Jehovah. The Gradual and Alleluia together form the musieal high point of the Gregorian Mass. No ritual ations oeeur at this point in the service, and the atten tion of alls focused on the singingof these melodies and texts. The soloist sings the first phrase of “Alleluia” tothe asterisk; the choir repeats this (as shown by the repeat mark.) and continues withthe following melisma, the ubilus. The soloist sings the verse, joined by the choi: for the lst words (marked by an asterisk) Finally, the respond is sung again wthout the repetition, ereating an overall ABA’ 3 GarCORIAY CHANT Muss Mass for Chrstnas ay z form. In the Middle Ages. the soloist often sung the “Alleia,” and the choir joined atthe melisma, as on she accompanying recording ‘The Alleluia for Christmas Day is one ofthe oldest, Many later Alleluias repeat the entire melody for “Alleluia” on the lat word of the verse, Here instead there isa varied repetition ofthe first phrase of the verse ("Dies sanctificatusilluxit nobis") in the third phrase ( quia hodie descendit lux magna"). The melody isin ‘mode 2, the plagal mode on D. and movesiin the normal octave range from Ato A, Most phrases end on the final, others on the note below. and several phrases linger on the reciting tone F. Compare this chant to the Kyrie, mode 1 chart, to see hove different are the plagal and authentic modes on the same final of D. After the Alleluia comes the Gospel, a reading from one of the four New Testament books that relate the if of Jesus. It is chanted by the deacon on asim ple recitation formula, A spoken sermon may fllow. (®) Credo Ce] ae C Rédo in dnum Dé-um, Patrem omnipot-éntem, fa- ctérem cadli et térae, visi-bidi-um émni- um, et invi- um Dé-i unigéni- tum, Et ex Patre nétum ante ce] ‘émni-a saéwi-la, Dé-um de Dé- 0, limen de limine, stanti-d-lem Patri: per quem émni-a facta sunt. Qui pro- ”18 B-GRIGORIVN CN MASS Mass for Christmas Day @ eee oe pter nos himines, et propter néstram salitem descéndit Marla Virgi-ne : Ethémo factus est. Cru-cifixus ét-i- am eet sectindum Scriptaras. Et Toone ascéndit in caélum :sédet ad déxte-ram Patris. Et (-teram _ - Ee a, judi-cd-re vivos gt mértu- os ventarus est cum glé- —————— Et in Spfri-tum Sanctum, Dé minum, et vi = dit. Qui cum Patre et Fi-li-o pat simul ado-ré-tur, et con- =e = | ccctur :qui locitus est per Prophé-tas. Et énam sin- SGavc ORIN CYNE MNS3 Mass fore was Day wr 19 te-or inum baptisma in remissi- dnem pecca-té-rum, Et Credo in unum Deum, Patrem omnipotentem fae ‘orem eal et terre, vsblium omniumn et invisibliwm tin unum Domain Jeaura Christm Filia Det ‘unigenitum, Et ex Pre natum ante omnia sace ‘ls Deum de Deo. lamen de mine, Deum ‘verum de Deo vero, Genitum non factim, cm substantial Pat: per quem omaia fata sunt Qui propter nos homines et propternostram salem descendit de nei Et nearnatus ext de Spirtu Soneto ex Maria Virgin et homo facts ‘st. Crucfius etiam pro nobis: ub Pontio Pilato passus et sepultusest. Ec resurrexittetia dic, secundum Scriptura, Bt ascenditin ‘eum sedet ad dexteram Pats. Eriterum ‘venturus est um gloria judicare viv et morta os eaj regni non ent is tin Spiritum Senctum, Dominum, et vivifian tem, qui ex Pate Filoque procedt. Qui eum Patre et Flo simul adortor et congoriiatur {qui loeutus es per Prophets. tunam sanctam eatolica et apstoicam Eeclesiam, Conftear unum baptisma in remicsionem paces torum, Etexspectoresurectionem mororam Ervitam venturi saeeull Amen. {belive in one God, Father Almighty, maker of heaven and earth, and ofall things visible and inveible, ‘And in one Lord Jus Cheat, the oly-begoten 502 of God. Born ofthe Father before al ages Ged of God, light of lig, tue Go of true God Begotien, not made, being of one substance with the ther, by whom all things were made, Who forve humans and for our salvation descended fram heaven. And wes sade incarnate bythe ely Spin ofthe Virgin May. and was made rin, And was eruifed for, under Ponte Pie He died, and was buried, And rose again ‘onthe third day, according to the Serpturs. ‘Apl ascended into heaven, and sit atthe right baad of the Father. And He eall come aguin wit glory to judge the living nd the dead of ‘whoee kingiom there shall be no en. And inthe Holy Sprit, Lord and giver of ie, who praceeds from the Father and the Son, Who, together with the Father and the Son, is oe shipedand glorified: who spoke by she prophets, ‘And one holy Catholic. and Apostoli ‘Che. 1 askwledge one baptinm forthe remiesion of ‘its, And await the resurrection ofthe dead. Ai the life of che world to ome. Amen,20 3. GRIGONLS CHANT MASS Mass fr Chrismas Day or The Credo, or Nicene Creed, is a statement of faith that summarizes the central doctrines of the Catholic Chareh. This was the last item to be added tothe stan ddard form of the Mass (in 014). and it was the last ofthe Ortlinary chants to be taken away from the congregation and given to the choir. The long association with congregational singing explains why all Credo melodies are gllabie and rel atively simple, why there are relatively few Credo melodies, and why Credo ‘melodies are not included in cycles of Ordinary chants. It also explains why the priest begins the chant, singing "Credo in unum Deum” (I believe in one Cod) before the choir sings the rest of the melody. Like Gloria melodies, Credo melodies have no standard pattern of repetition, Dut they do feature few motives that are repeated and varied to fit the changing accentuations ofthe text. Note for example the motive on “Patrem omnipoten tem," used in various forms more than a dozen times and often preceded by 2 variant of the figare on "Credo in unum Deum.” Although the melody ends on E and therefore classed as mode 4, almost all the phrases close on G, and BS isan unexpectedly common tone (compare two other chants in mode 4 the Gloria and (Offertory, in which Bb never oceurs). ‘The Gredo marks the end ofthe first main division ofthe Mass, the Liturgy of ‘the Word, which centerson readings nd singing more than on ritual ations. Itis followed by the Liturgy of the Eucharist, whose focus is the preparation for and ‘giving of communion to the faithful. (©) Offertory: Tui sunt caelt té ra: drbem ter- ré- rum, et ple- ni-ta- di- cea fee tu funda- just. ] | j | ' ' 3.GAICORIAN CHINE MASS Mass for Christmas Day ‘Twisunt cal, et tus est tere: orbem terraram, et plenitodinem ejus ts funda oni et judi tim peacparatio sedis uae tia et judf- ci- um praepard- sé dis tie ae, ‘Thineare the heavens, and Thine ie the en ‘world andthe fullness thereof Thou hast eds justice and judgment are the prepa ‘Thy throne aS As the priest beginsto prepare the bread and wine for communion, the choir sings the Offertory. Originally, the Offertory was along responsorial psalm, performed a5 members ofthe congregation made donations of bread and wine tothe priest, with florid verses sung hy soloist framed by a respond sung by the choir. ll that survives today is the respond, whose melismatie character reflets it history asa chart associated with florid solo singing. This Offertory draws its text from a psalm (verse 11 and half of verse 13 from Psalm 88 in the Latin Vulgate, Bg in the Protestant Bible) ‘Tae melody isin mode 4, witha final on Band a range from Co C, but it tends tolinger on Finstead of emphasizing the reciting one A. The cantor sings the first words to set the piteh, and the choir joins atthe asterisk to complete the chant. ‘Tae priest then recites various prayers in a speaking voice forthe blessing of the slements and vessels of the Eucharist, the reenactment of Chris's Last Supper. One prayer that is chanted isthe Preface to formula tht ie more melo- dious than the other simple readings. The Preface serves to introduce the Sanctus. 2 sth the found. onaa 3 GRIGONIAN CHANT MASS Mass for Christmas Day wi (h Sanctus Gy xe s Red S An- ctus, * Sanctus, Sén- ctus Déminus Dé- us = Sé-ba- oth, Pléni sunt caéli et térra glé- ri-a th a, 3.GALGORIAN CHANT MASS Mat for Chrismas Day 2 }- ' } | | clear throughout. ompare this chant to the Intrit,a mode 7 chant, toe the dif- ferences between the authentic and plagal modes on G. Now the celebrant pronounces the Canon, the prayer consecrating the bread and wine, and the Paternoster (the Lord's Prayer, “Our Father"), (0 Agus Dei a (xn) xtc. * qui téllis peccdta mindi : mi-se- qe ee in né- in ex-cél- sis, Benedictus qui vé-ni Ho- sénna ré re né-bis, Agnus Dé- i, * qui téllis pecedta_ mundi : Hie ai it a sénna in ex-cél- sis, Holy, oly, holy, Lord God of Hosts. The heavens ‘hd earth are fll of thy glory Hossnns i the highest. = ‘Sanctus, Sanctus, Sanctus Dominus Deus Sabaoth. Pleni sunt cael et tere lora tua, Hosanna in excelsis Benedict quivenit in mine Domini Hosanna Blessed is he who comes in the name of the Lord incxcess Hosanna in the highest ee ‘The Sanctus begins with the words sng by angels in. vision described in Isic {Sans sods are prea neuati enh eleventh cenary eng. The thretld epeiions ef Sans and the wold Hosanna” invite musical ittne Here: there are bth exceptions (he third “Sane” Fepeats THe fm the second “osama” repeats the previous eleven note) and varied repetitions (compare the seins from "Plea tough "excels" and from "Enedtcs"teagh the ent each othe and to he mda from the second “Senet hough “Sabah. The overal for of ANA is mot uncommon but the par sequence of motives abacd Beha’ Bededb’) i individual and tube vey ine combination of simply with bly amples variation "he nly isn mode 8, wih final of Ganda octave range from DoD. Frequent cadence on and phrases that wind above aad Below emake he mode mi-scré- re né-bis. Agnus Dé i, * qui téllis pecedta =e mandi: déna né- bis pa-cem. ‘Agnus Dei. quitollspeceau mundi: miserere nobis. Lamb of God, who takest away the sins of the worlds Ihave merey on us, Agnus De, qui tolls peesua mundl: miserere {amb of God, who takest away the gins of the world obi eve mci ou [Agnus De, quitallis pecsa'a mundi dons nobis Lamb of God. who tkest away te ens ofthe word pacer, ‘ive us pence, ot The Agnus Dei, like the Kyrie, was originally a litany, a repeated prayer in which participants respond to a leader. The text consists of a threefold acclamation, “Lamb of God, who takest away the sins of the world," followed by two identical responses, “have merey on us,” and a fina response, “give us peace.” Despite the ‘wo different responses, the three periods ofthis chant each end withthe same ‘music. The beginning of the middle period differs from the other two, ereting an2 8 Garconisn CHANT MASS Mass for Ghestnss Day wr 3 GREGORIAN CHANT MASS Mas fr Christmas Day car 25 (te, misaeat &) ; == = +te, missa_ est. Dé-o grd-ti- as, overall form of AB CB AB, one of the standard patterns for the Agnus Dei. The ‘opening words “Agnus Dei" in each period are sung by the cantor, with the choir completing the period, ‘This chant is classed as mode 6, the plagal mode on F. The final is very clear, but the range from Eo D could fit either mode 6 or mode 5, the authentic mode ‘on F (compare the Gradual, which is in mode g, and has a range from low Eto high F). Here the reciting tone may be the deeiding factor: there isa strong emphasis ‘on A, the reciting tone of mode 6, whereas C, the mode 5 reciting tone, seldom ‘occurs, Each melodic wait denershes att undulating arch, and each period rises to ‘single peak (C in the outer perioda, D in the middle one), arrives at a medial ‘eadence on the reciting me A, and winds back down to F. Ite, mize et Go, the Mass is over. Deo gratis, ‘Thanks to God B= () Communion: Viderunt omnes Ar the end ofthe Mass, he priest or deacon dismisses the faithful, and the choir } | { | | ! ! | ) mle "Taks wed hte Secs Moe ces noe ee ‘sung to the melody ofthe first “Kyrie eleison.” In the accompanying recording, ‘the dismissal is eung by the deacon. ae th re DE TG Videront omnes fines teraesalutare Delnoste,_Allthe ends ofthe earth have sen the salvation of ‘our God — After te faithful aud celebrant have partaken of the bread and wine, the choir ‘ings the Communion. This chant was originally a psalm with antiphon, sung antiphonally by the choir during the distribution ofthe bread and wine. When in the later Middle Ages the chant was moved to follow rather than accompany the iving of communion, it no longer needed to last as ong. so the psalm verses were dropped, and only the antiphon remained. The text of this Communion is the same as that beginning the Gradual. There are no repeated motives in the music, but rather a variety of melodie patterns. The ‘melody isin mode 1, evident inthe cadences on the final D, the emphasis on the reciting one A. and the range that extends almost an octave above D.