UNIVERSITE DE MONTREAL Musique - Blbliotheque ACCOMPAGNEMENT DU KYRIALE VATICAN PAR LE R. P. DOM JEAN ·.DESROCQUETTES Moine de Solesmes ET HENRI POTIRON .Maitre de la Basilique du Sacre-Cteur el Professeur a l'Institut gregorien de Paris (lNTltOD\1CI10N .AND NO'111S IN FRENal AND ENGLISH) DESCLEE & Cie Imprimeurs du Saint-Siege et de la Sacree Congregation des RitoI PARIS • TOURNAI - ROME - NEW YORK. llNIVERSI'tt DE MONTREAL AmsIQUI - 8IBLIor.aEQQI!
Elaborate organ accompaniments for the Vatican Kyriale.
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UNIVERSITE DE MONTREAL Musique - Blbliotheque
ACCOMPAGNEMENT DU
KYRIALE VATICAN
PAR
LE R. P. DOM JEAN HEB~RT ·.DESROCQUETTES
Moine de Solesmes
ET
HENRI POTIRON
.Maitre ~Chape/le de la Basilique du Sacre-Cteur
el Professeur a l'Institut gregorien de Paris
(lNTltOD\1CI10N .AND NO'111S IN FRENal AND ENGLISH)
DESCLEE & Cie Imprimeurs du Saint-Siege et de la Sacree Congregation des RitoI
PARIS • TOURNAI - ROME - NEW YORK.
llNIVERSI'tt DE MONTREAL
AmsIQUI - 8IBLIor.aEQQI!
IMPRIMI POTEST.
Solesmis, die 31 Octobris 1928
t Fr. GERMANUS CoZIEN,
Abbas S. Petri de Solesmis.
IMPRIMATUR.
Tomaci, die 18 Aprilis 1929
V. CANTINEAU, Vic. Gen.
Tous droits reserves.
Copyright 1957 by DXSCLEE & Co., Tournai (BelIi1lJD).
INDEX In Dominicis ad Aspersionem Aquse benedictse :
Asperges me . Vidi aquam . Alii cantus ad libitwn pro Ant. Aspe,ges me .
Ad Missam:
I. - Tempore Paschali (Lux et cwigo) II. - In Festis Solemnibus. I. (Ky,ie fons bonitatis) . III. - In Festis Solemnibus. 2. {Kyri« Deus sempiterne) IV. - In Festis Duplicibus. I. (Cunctipotens Genitor Deus) . V. - In Festis Duplicibus. 2. (Ky,ie magnal Deus potentia) VI. - In Festis Duplicibus. 3. (Ky,ie Rex Genitor) VII. - In Festis Duplicibus. 4. (Kyrie Rex sp1endens) VIII. - In Festis Duplicibus. 5. (de Angelis) . IX. - In Festis B. Marire Virginis. I. (Cum jubilo) X. - In Festis B. Marire Virginis. 2. (Alme PateY) XI. - In Dominicis infra annum {Orbis factcw) XII. - In Festis Semiduplicibus. I. (Pater cuncta) XIII. - In Festis Semiduplicibus. 2. (Stelliferi Condito« orbis} XIV. - Infra Octavas quse non sunt de B. Maria Virgine (Jesu RedemptOf) XV. - In Festis Simplicibus {Dominator Deus) XVI. - In Feriis per annum XVII. - In Dominicis Adventus et Quadragesimre .
• page I
2
3
4 9 ., • 14
• 18 • 22
• 27 • 32
• 36
40· ·44 • 47 · SI • S4 • 58 · 62 • 65 • 67
XVIII. - In Feriis Adventus et Quadrages., in Vigiliis, Feriis IV Temporum et in Missa Rogationum Credo I. Credo II. Credo III. Credo IV. Credo V. Credo VI. Credo VII
· 7° • 72
Cantus ad 1ihitum.
Kyrie I. (Clemens..RectOf)
Kyrie VII (Splendor eterne}
Gloria I. Gloria II. Gloria III. Gloria (More ambrosiano) Sanctus I. Sanctus II. . Sanctus III. . Agnus Dei I. Agnus Dei II.
Kyrie II. (Summe Deus) . Kyrie III. (Rector casmi pie) Kyrie IV. . (Kyrie altissime) Kyrie V. (ConditOf Kyrie omnium) Kyrie VI. (Te Ch,iste Rex supplices)
Kyrie VIII. {Firmator sancte) Kyrie IX. (0 Pater excelse} Kyrie X. (O,his factor) [In Dominicis pe, annum] Kyrie XI. {Kyrie Salve) [In Dominicis Adventus et Quad,agesitnt:s] .
• 74 .'}6
• 79 • 82
84 • 88
91
• 92
• 93 ·94 • 95 .' 96
.. • 97 • 98
· 98 99
· 99 • 100
• 101
104· • 106
• 108
• 108
· log · log · 110
Imprime en Belgique par DESCLEE & CIE, ~diteurs, S. A. , Tournai (Belgique.) - 10.438
'
INTRODUCTION
Ces accompagnements sont l'illustration des theories exposees dans 1& Revue Gregorienne et al'Institut Gregorien de Paris.
II n'existe pas d'accompagnement passe-pertout, II est impossible egalement de fixer pour chaque piece une tessiture unique j la nature des voix, l'etendue et l'acoustique des vaisseaux, considerees en relation avec l'interpretation reclamee par Ie caractere de chaque piece, exigent le plus souvent une adaptation. D'ou, necessite d'apprendre et de se former un style pour pouvoir se liberer des barmonisations ecrites, Nos accomp~nements ont ete con~us pour. un chceur bien exerce, un orgamste moyen et une tessiture legerement elevee,
Ces harmonies utilisent les ressources modernes, - tant qu'elles restent modales, - et, sans ~tre agressives, elles s'affrancbissent du prejuge de la consonnance aoutrance et de certaines regles purement scholastiques dont pourtant eUes respectent l'esprit. 8'iI plaisait a quelques esprits d'y chercher a la loupe des quintes ou de declarer faux certains accords, qu'ils sachent au moins que rien n'a ete ecrit au hasard.
Nous croyons d'ailleurs !tre restes fideles a notre grand principe et nous pensons que notre accompagnement, pris dans son ensemble, est bien « une traduction, une transposition, une projection aussi objective, aussi fidele et aussi simple que possible de la pure melodie dans l'ordre harmonique ). Que si quelque detail semblait ~ et 11 s'ecarter de cet ideal, un exam en plus attentif pourra parfois dissiper l'impression premiere; d'autant que l'on ne devra jamais perdre de vue que Ie rythme et 1& modalite des pieces ont leurs exigences aussi bien que Ie contexte immediate De plus, l'ecriture musicale ne merite-t-elle pas, elle aussi, qu'on lui fasse quelques sacrifices quand les principes essentiels restent saufs? Enfin, dans un livre qui voudrait contribuer a la formation des organistes accompagnateurs, il ne nous a pas paru inutile de donner parfois diJTerentes harmonisations de la meme formule melodique (dans les Eyrie, les Apus Dei, etc.), sans pretendre toujours reconnattre a toutes la m~me valeur ni la meme opportunite, Quoi qu'il en soil, nous espercns que l'on voudra bien ne pas s'arr!ter aux details, mais regarder a l'ensemble du style. Surtout, qu'on n'aille pas, acause de telle realisation qui peut ~tre personnelle et ceder 1aplace a une autre, rejeter des principes qui pretendent etre objectifs et scientifiques.
Pour ce qui conceme l'emeloi de 1a pedale, i1 faut observer que IAcher le 16 pieds au milieu d'une phrase fait un creux. Des lors, pour les passages a trois voix, it faudra, au bien continuer avec la pedale 16 pieds meme la partie de tenor, si celle-ci s'enchalne avec 1a partie grave; ou bien n'avoir pas de 16 pieds a la pedale et Ikner ce clavier quand 1a basse se tait; ou bien en lin ne pas [ouer de pedale du tout, pour des pieces entieres qui pourraient s'en dispenser (v. g. certains versets de Graduel, d'Alleluia, d'Introit, etc., reserves aux chantres), ou pour des parties de pieces formant ~n tout logique.
Les Auteurs.
The following accompaniments are intended to illustrate the theories laid down in the Re1JUe GrlgtJriellne and taught at the Gregorian Institute of Paris. .
There is no such thing as an accompaniment .which will serve for every key, nor is it possible to fix upon a single compass for each piece j the nature of the voices, the size and acoustic properties of the building, in relation to the interpretation demanded by the character of the composition, these generally call for adaptation. Hence the necessity-forstudy in order that one may acquire a style of one's own, and gradually become independent of the written score. But since in tbe face of several alternatives a choice has to; be made, the present accompaniments have been arranged for a practised choir, a competent organist, and a somewhat high compass.
The harmonisations make use of modern resources, in so far as these are modal, and without being aggressive, are not hidebound either by the sacrosanct principle of consonance, or by the letter' of certain purely scholastic rules whose spirit they respect nevertheless. Possibly some captious spirits may· take a delight in pursuing a microscopic search for fifths, or pronounce certain combinations discordant; let them at least bear in mind that nothing here has been set down at random, .
The composers believe moreover that, by fidelity to their root principle, they have succeeded in rendering the accompaniment as a whole" a translation, transposition, and projection of the pure melody into the harmonic order, made as objective, faithful and simple as possible". If here and there .they seem to have fallen from this standard, a closer perusal will often dispel the impression; not must it be for~otten that the rhythm and modality of the pieces have certain requirements, just as much as the immediate melodic context. . Does not the musical style, moreover, deserve that some few sacrifices should be made on its bebalf, provided the essential principles be kept intact? Lastly, in a work of tbis sort, intended to contribute to the training of' organ accompanists, it seemed only fitting to provide several different harmonisations for one and the same melodic formula - in the Eyries, Agn," Dei, etc. - without thereby claiming the same value and appropriateness (or all, Be this as it may, the authors' desire is that these accompaniments should be regarded as a whole, without lingering over them in ( very great detail. It is supremely important that one should not run the risk of rejecting principles wbich lay claim to be objective and, scientific, on account of some small point of interpretation which may well be a matter of personal choice and open to improvement.
As regards, the use ·of the pedal, it D1Ust be noted that to release the sixteen foot stop in the middle of a phrase will cause a gap. For three voice passages it follows that one must either continue to use the pedal with the tenor part, if this latter follows logically epon the bass, or else not have the sixteen foot stop at the pedal but leave the pedal board alone whenever there is an interruption in the bass part. A third alternative would be not to use the pedal at all in those pieces where it can be dispensed with (e. g. in certain verses of the Gradual, Alleluia, Introit, etc., reserved to the cantors), or in such portions of any piece as form a logical entity.
The Authors.
Ordinarium Missm. In Dominiois ad Aspersionem Aqum benediote.
Extra Tempus Puchala.
Ant. 7
A _ 8per _ ges me,.£6 - ml_ po, et
8U _ per aLvem de - al.b& _ bore hodi _ Be _ l'4trela • va bis me, ~ ... ,
·r
_ t, De _ us,me ~ --. ......... , I
:I se _ CUD. dum ID8gDlDlIDL se _rL cOr _ dL am to L L L l L L ~- L
am.
r' I
II. '
et in
ri _ a Pun, et FLIL 0, et SpLri _ tu_i Sin _ eto.
I
cLpLo, fit nuno, et &em. per,
I
G16
R~,tltur 4.' •
(~~~~~~~~~~~~~I~~~~~~~l~~~~~~A8perge8 me.
I I ti · j~ _ i._~-. -.-=- "' -~..... ..
Tempore Paschal]. Scilicet a DominioaPasohm usque ad Penteoosten inolusive.
Ant. 8
Vl _ di di _ en _tem de plot
a 1& te - 18 tro, AI.Ie hi ia:
sunt, et di cent, Al _ le , In fa,
Al . Ie In ia. P8. CCD_fi _ te _ mi.ni Do.mi .DO quo _ ni _
e_jus.
Gl6.ri •• Patri et FI.li.oJ .t SpI.n • m.. j' au '. 010. ~. 81 '. out i.rat ill priD.ol.pi.
et ".cu._ ·...cu 16, • A.meD.0, • DUC, et sem . per, iD • rum.A ..
616 _ri . a. r9._tri, et Fi.1i _ 0, et SpL rf , tu • i Sancto.. Si .. cut e_rat inprln.cf_ pi_0, et
ou bien nunc, et SenLpe.f t
et in sre_cu_la sIlLcu_lo .. rum. A ... men. et in sr2.cu_)a ste_cu_lo .. rum. A • men.
I. Tempore Pasohali. (Lux et origo.)
Kyrie. VITI
ri ,e Xj ri; e e Ie_I, son. A~
_ Ie_Lson.
--
)
-, Cbr{. ste e
e Je i .. SOD. e
Gloria. IV
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"e
De . o.
.1.
Et in
J.
ter
d"
Ie i_SOD. 4 Xi _ri - • i_SOD.
ra I'ax bo _ mi _ni • bus bo. rUB vo _ IUD. t8 • tis. ~ Lau . da _mus tee
---_.-"-,......-------~
Be_De _ cU _ci mus tee Ad.o • Ii _ mas tee GJo.ri . fi _ca mas
- -
--
6
Gr8_ti _ as a. gi _ mus tl _ bi prd.pter ma_gnam glo .. ri - am tu . am.
Do mi _ ne De _us, Rex em _ Ie _stls, De us P8.. ter 0 _
- *'
-~ ; J; -!J.-r r- r i ·r, IE:
"--'i' i r mnl - po - tens. D6~mi - ne Fi _Ii U _ 01 . ge.. ni .. te Je - sa chrl_ stew
Do - mi _De De _us, A gnus De - it Fi Ii . us pa .. tris. ,....-.....
.-" "------
----J .; )~: ti:i-i~r·r
Qui tol .. JIS pee c'_ ta mun _ di, mi _S8 .. Ii_ re en6 his. Qui to) .. lis ...--.... ....--.....
pee .. ca .. ta mlin _ di, su _sci .. pe de, pre.ca .. ti _ 6 _ Dem no _stram.
;-
Qui S8 _ des ad del _ ta.tam Pa.,.tris, mf.se. re.re DO. bis. Quo.Dl _, am ,
tu solus san. ctus, Tu so.tos Do. mL DOS. Ta 56., Ius AI. tluimus Je. su ChrLsta.
CUm Sineto Splri. tu, P'.tris. -r
A It. - ......~...........
meD.
San.etus, • San ctus, S8netusD6..mi _ nos De.us Sa. ba . oth.- ,,-.-..- ,...., ,.......I 1 .- .... . 1 " ...... ' . . .
Sanotus. i.. i.. 1"""'- I - 1 1--'1) r:IV ~ J. ~ ~. :.J. J J. J. ~ ..J J 1>J-
PIe • nisunt 08 • Ii at It.
ter. ra
J.
rLa ui ; a; Hosan •.D& . in 8% • ccn.sis. It.
Be _ De _ dL ctusqui"'. nit in no. mL ne D<L mi _ nl . Ho san. Da fo' ex. eel . sls . . /\ - ....
8
IV
VIII
A.gnus De.f, • qUi_t61 _ lis pec..ca _ ta mUD _ di, mi.se _ re .-
Agnus.
~ A
re 06 _ bis. A __ gnus ta mUD _ eli,
A Missa Sabbati Sancti usque ad Sabbatum in A.lbia inclusive. De _ 0 gra _ti _ as, al _ Ie _ hi al _ le hi ia.
Ab Octava Pasehe ad Sabbatum IV. Temporum Pentecostes inclusive.
VII
De :. * o gra _ _ ti _ as.
o
U.In Pestis Solemnibus. (Kyrie rons bonitatis.)
Kt.ri _ e • •• le • I. lOll.
KyrienI
Kj .. ri .. e e .Ii
Chri_ste i_SOD.
-------- .------~------·e _16 _ i.SOD.
to
e .. Ie .. 1..SOD.
----------__ *' • e ... le _ i_SOD.
Glo.ri _ a in ex.celsis De _ o. Et in ter. ra paxho m{ • ni bus
Gloria. I
00.bE \'"0. IUD. ta_ tis. Lau..dA.mus teo Be.ne..df , cLmus leo A.. do. Ia _mus te.
en pr'CfIQftt anu; 8'U" Ie 1a die re comm« ca au bien wci". ::'Ibdeprecationem den tti7l8pirrz.nidtl flItAme 1 { . ~ i· tUB cadntcu ad doxteram Patrls et To solul
, Altissimns Jesn Christe.
11
610_"_fl_ca _ mus te, Gnlti_as '_gimus u, bi propter ma _ gnamg16 - ri _ 8m tu_am.
DO..mi _De De. us, _ tens. D6
....
ne Fi'.1i u _ni ~ .ge _ ni. te Je _ su ChrLste. BomLne De _us, ~_gnus De. I, Fi _ 11.,
us P8_tris. Qui tot lis pecca_tamundi J mi.se. re _ re
Qui t61 lis pecca_18mundi J su_sci _ pe de..pre..caJi_ 6. nem n6.stram . Quise _ des ad da.
ramP8. _ tns, mi_ se _te _ re _ re n6 _bis. Qu6..ni.AID tu s6 _ Iussanolus.
Tu so_lus Do _. mi .. DU~. Tu sd.Ius Al tIS..si _ mns, Je su Chri _ ste ,
men.
r r-:----r SaD etns, San ctus
Sanctus I
Domi..nus De _ us Sa ba .. oth. Ple_Di .. sunt cm _Ii et ra g16 ri ..8
tu_a. -~
no_san _na-..o:o _ A~
in ex _ eel ..sis. Ba.ne _ dl _ ctus qui
in ex .. eeLsis.
I
fa
Agnus.
A.gnus _ De _ I, .qui to! ... lis ca _ ta mUD di:
bis. A _ gnusDe _ I, .qui t61.1is Reo.c& _ tami.S8 _ re . re
bii~ A • IdS D' _ i,. qai &61 _ . IiI
di:
ill
gra • ti_ as
Vel seoundum oommuniorem usum.
ti _ as.ti _ as. Iiigli0 ----- De
v
. . r r (I) Cett~ PaDII '·.Dlle afJa7f1 Uft 6nJ11l'- ••r 1Int: 1IIi." .,IIIIN ••'Iei la flDI••otl4ltt ..r lafWl1# .'.".. It1Id ,."."., .,11 deflftllld" Qel,., ""IIt! em '1tJ'~r l'~r 1'''.~""Ofl~e.~ 11- COftt1.·""drtI~f .C'!"IJla'!cete1l' de '':'' ~""""," c#r'nt" ,,"'" f!mu.li: CN",.. ..... .. .', . .':.. '. . ..
ill. In Festis Solemnibus. 2. (Kyr ie Deussempiterne)
---------- '-""
:.J
riO _ e _Kj
_ e • _
Kyrie IV
J.. . . ' \
.' . 116,f;1 Jlt;Ulll gUll CI mi llaturel d8 pa8sag_ (#)1 cortYsp01ldant au sl btcarro du tim. f ~ I =:1::1 origi1ull, #n ••c(J1Id gTOup' modal, .11101111 gt,'aUCrtIl 6Jcarn mJlodiglltlltl jus/i•J lill (puisf1l# prJoisJm'1111#lJnllOl ;nlllTvitmdra plus loin) ••t tin tUhOl-. tU la.,y.
::: ~.-: liL. . . f, . '-' · gil AalJitu6/111. Alai8,dn"8 un lye mod~ J/aNI81lrfintll,I., on ndn,~1 'Dr16ittnrm
.tt) 0" /;ton j ~:.. mi dtl p411sagtl donlll'".ar1llttnilJ, "11 Innn~mlJ grouptl (/0.11 orllfJilal). ~•.dofIC , '. qU'U1J./ontlul. mJlod,.'J1l' .p,nrtenftnt til propro au ClUatricme m040 ea II' StI·,.,,/roa_
.." . .... .-... . .' . c~ra !tntl 'lllart_pllt.lJa8-guatr//lnuJ mod« ell mi- Ie sl naturet 61JU18&,ro ~1~ IfI4i4n$'/"$ 11l111lCS C'()/Idt"/"01l3. No'lL& croycns m;"'~ 'lU- d,s formu/f1s n''''lIO~68kri/1I6 MIlS II fua1n·n", ",IXI. #11 d'-prt111fi,rgrtJfL ]'a modal- supporteraient I. r., dl passag», c'est ta l0lriqu4 l/ltI'IU'. Milis Juid'"l1Jl~nt/4 procidJ '8t da'ng6r,ux,1 n, doit 1!4. JlnI e~"'~i/II. 1/1101/$ a par" utile IOU/I/O;" d'en donner ici un tlxtnnjll,. .5730--------------
.11
.. GI6 _ ri •. & in. at .cel • sis De - o. . Et in ter.ra.. pax ho. mi.;.ni.bus ·b6 • ...-.....
Gloria VIII
A
B d'~ · .A~do _YO • IUD. ta. tis. Lau • da. MUS tee e-D~. l' _ . Cl' ,- mas tee
ra _ mus tee 610. ri .fi _ ca _ mus tee Gra.li _ as 11 - gi.mus ti • bi pr6p.ter
mn .. gaam g16 • ri.am tu _ am. D6.mi.ne De.us, ReI em • Ie.stis t De-us Pa • ter 0 • A. .A,
\~~~~~~~~ ~~ ---rz-~--+----.hr-- ~~.
D1nl _ po. tens. ·Do.mi.ue rr.u u - ui ; gee ni_te, Je. .6U Chri' .ste. ·Do.mi. ne De.us,
Sa _ba _otb,- ctus Do mi. nus De:.usSan Actu8,~San • etus, A
fG
Qui to) • lis pee ea • ta mundi, mi.se.re _ re no - bis. . A
QUi tal - lis pee A • ea. ta m.di, sU-sci.pe de.pre.ca, ti - 6 _ nem n6.stram. Qui S8
des ad dex_te~ram Pa - tris, mi _ se re·. re no. bis. Qn6.ni.am tu so.lussaDctu8.
Tu so• Ius Do.mi _DUS. Tu so.lus AI.tls. si mns, Je su Chrl 5te.- -
\ !
Cum Sancto SpI.ri . tu, in glo • ri , a De.i Pit tris. A . men• - --
Sanotus IV
,. '1 - 1' _ ri._ tut _a. Ko SAD _ aa in II. eel. sis.Ple.ni sunt ere .Ii et ter - ra. g 0 ,,
nit in n6 ~ mi.~e Do _mi _ ni. Bo saJl' _Be_ne _ d1 _:etus qui v~ _ 'n.: in .ex. eel. sis.
AgnusIV
A _ gous De _ ·i,. qui 161 -
mi _ S8 _ re.re ' DO. bis. A. gnusDe. i,.
A. pus De _ it *qui t61 •
pec..ca
qui t61 •
• di:
ta
mi -,
S8 • r8.re
di:
D6. bis.
mun
lis
di:' d6. na Do•.bis pa. cem.
18 IV. In. Festis Dupltcibus , 1.
(Cunctipotens Genitor Deus.)
. Ie. i .SOD. Kf;..ri _ e
Ie. i .son.
Cbriste e
Kj • ri _Ie. i _son.e
Ie. i , son.
Ie. i . son.
• le.l. son.
e
Le dessm nuJ/odiqu6all, CAris!s ~_U--&t..~-II"""'''''-+--:---.lfJuise titJnt lout entier dans la _.....~~~-+--4--+--t---4-~'-+--R~4--f11-IiIIIII...-4~---...1
~ ~- .t--+-+-++-~-+--IIlquint8re-la rdatiso un certain, l---'~__~"';;"''-'''''--'IlIL...~''''-'''';~~~-.t~''''''''''''---++~1 , - ------....-...-...1cantraste gut au/arise ccrtat_ ,t---t-~--""-r--""-rl....--""' -- J--~"" """""""'__~....-..HI
nomen» /'illtroduction du 8; lJtmol dans 1'/i,arlJ.onie (do.!Ji - .
......~...... ..... ....- ....- ,......-t carr"dans /0 transposition.) I ....~:.....,_-+------__:----t On, clloisz:ra Puna on tmutr» de \ 1-6----..--"""-.....-4----+-----1 cea tntcrprctattons pour s'1/ te: \t+--+--t4~----""........,r------J'-:----""'-__~-+---+----+f I
nir pendant toute la durec des Christ". (2)
e
..~
-~.~~----------~~--..~-------.:----..t----
(J) On..pourra 'uli/;$er la cadanco pr,!ccrlclI/(:. La dol est dOJlllc tct CtY1Mnc pO$8ifJlt', quoiquo un pcu dur, (2) Par erreur csltt! "016 a itc introduitc dans Ie 16%18. Notre avant d6rn;e,.6 harmOft;6ati01l dft Clar•.,t. ne faisant .,.t6ndr6
g16 ri _ am. _am tu Do.mi lie De Rex <a.le • stis, __
De.us Pa _ ter 0 Do..mi _ne F{.li • te Je. su Cbrl_
F{ _ Ii , _ us po, • tris.
tis _ 81
ri • tu,_ .in gl6 • ri.& De Pi _ _
tOB
pee •. ca ~. ta mUD. di, _ mi•• _ , ,QUi t61 lis re.reDO bl·l.
Qui tol _ lis peo. oa . ta mUD. di'9----- la6s\ram.
Qui _ se.des ad dex • te _ ram N _ tria, mi.se _ fe _ re n6 • bis.
•Quo.ni . am tu so.Ius san . ctus. Tu s6.lus Do . mi _ nus. Tu sO.lus Al
.-----~
_ mus, _ Je . su Ohrf.ste, _ Cum SaD
meD.tris . A
2
{Of-
III
010. ri • a in 81 .. eel _ ail De __ 0 it fD ter _ ra pax ho _ mi _ Di _ bus-* _ .......
gi _ mus _Gl'a _ ti _ as tl • hi pr6 pter ma _gnam glo
---._---~--
ri - ~ tu &m. D6 _ mi _ De _ em _ 16· _ stia,
------~-
mi _ De De. us, A. gnusDe _ _ Ii us Pi. • tris. Qui tol • lis pecoa
{OS
as Pa ter o. po. tens
. Fi Ii u .. ni, gee at; te Je . su Chrt ste.
Fi
B~.SCI _ta mUD. dr, mi_8e • re _re Do.bis. Qui to) _ lis pecoa ta mUD. di , .
pe de.pre _ C&.ti _
mi.se • re _ re __ n6.bis. Quo. oi _ am tu 56.Jus w.ctus.
6 .. nem no. stram. Quise '. des ad del.te • ram _
foe
D6.mi __ DUS. . Al . .. tis .st, mus, Je _ su
Chri ate. Oum Ian ct~ Spr ri _ tu, . in gl~ rj • a A
De.i P& tria. men.
(More ambrosiano)
GI&. ri .. a in ex.eel.sis De _ o. Et in t.sr. ra pax ho, mi_ ni _bus b6.D2' "vo.luD •ta 2 tis.
Lau.da..mus te• Be. De. di _ci; mOs te. A • do• ra-.mus tee GJo. ri • fi • ea.mas tee
. Gra.ti. as ,. gLmU8 tt. bi ,...- _ propter mBgnamg16. ri.am tu _am.
t07
Fl.Ii •us Pallris.
mi. se; re.re DO. bis.
ca.ti _o.oem n6.stnm. Qui se.desad delte.ram Patriit. lIli_se.re~re· DO. bis. Qu6..DLam tu s6.Ju8 aaDc\u8.
Tu eO.lus DO.mi.DUS. Tu so.lus AI.tis. si.mus)
1
AUO
S"ANCTUS I
San ._ otUB t • SaD • elus, San _ctuB'" Do.mLnus De.us ·Sa_ ba-oth. .PIe. Di annt . ce . A"
tu _a. HO.S8.n.D& in el.;. eel .. • sis. ~
(I)
nit ,in DO • mi.n8· Do. mi •. Di. DO.SaD. na in ex. eel sis. ~
Be.De.d! • ctusqui v8 _
II
4
San _ ctns, # SaD _ ctus San .. ~~
'D6mLnus Deus Sa _ba ; oth. Pl.Lni sunt A
ce.. Ii et ter. ra g16. ri.& tu • &. Ho.san _ n& in ex.cel • sis. __ A
109
Be.De.di ctus qui ve·. Bit iD DO. mi. De Do.mi. .Dl. Bo.__ ..a in'ex.cel sis.
III
SaD ctus,·SaD • ct.us, sanctus D6.mi •.'nus De~ us Sa, ba. oth.
8
PIe. Di 81lDt ere Ii et ter ra g16~ri_~ tu. a. Ho.saD.Da in ex • ciLsis.
ne.dl.ctu8 qUi ve • Dit in no.mi _ De- Domi. ni. HOsMo& in ex • eel. sis.
AGNUS I
8
A pus De A.
t61
110
6
bis. A • gnusDe i, .qui tot lis
___ no _' _ bis. A
A gnus De I, •
tol lis .pec.ca.t& . mu~~di: do _ila no _bis p3 • _ cem• .A
II
A • gnus De _ it .. qui tol.lis pee.ea _ ta mUD .dt: mi • se • re _re no, _bis.
gDU~ De _ i, • qui to1. lis pee - 'ca _ta mUD _A _ di: mi _ se _ re _re no _bis.
A' _ gnus De • I, • qui tol. lis pee _ ca _ta mUD •.di: do . D& DO • bis pn. cem.
I
NOTES
. An En.c.lislt Iralfs/alioll oftilefoo/notes (J(&Urrinr ,;, the (tJunl D/ tlze 600ll is appended herefor the tottfJtniell(1 of IMSI to wltOf1~ Frt"t" .s un/amillar.
., p, I (I). Or else, if the accompanist is bent on avoiding the
two consecutive fifths between the chant and the alto.
p.. (I). Or else these two other harmonic Iormulse,
p. 10 (I). Or else, as below at depwtQliolfem, by placing the stress on the la and the re and adopting the cadential rhythm of ad tk%teram Patris and 1U so/us altissimus Jesu Christe.
p, 13'(I). This isolated note, preceding and falling on the same syllable as the group which follows, is, in the present case, the modal note on which the entire group depends; it obviously needs to be brought out in the harmony. It would also be well to mark its importance in the chant.
p. 14 (I). Or else, by mi nalural between (see example). Evidently this passing mi natural, corresponding to the si nalural of the original tone, is contrary to the general rule, occurring as it does in the second modal group, and without being justified by any natural in the melody, in which in fact a flat occurs later on. But in formulre of the fourth mode based on the final ttl, a passing ."". is more than admissible in the accompaniment of the third modal group (original tone). If therefore a melodic formula properly belonging to the fourth mode in la be written a fourth lower (fourth mode in mi), the si natural alone will be possible if it fulfils the same conditions, and is brought in only as a passing note or in a passing harmony. Even analogous formulee written in the fourth mode in si (the first modal group) would seem to presuppose a passing fa sharp. This is a perfectly logical and legitimate procedure, but its application calls for caution and is not to be generally recommended. One example of it, which may prove useful, is appended here.
p. 18 (I). The foregoing cadence may be used. The do sharp is suggested here as a possible alternative, although rather harsh.
In the third liflt 0/ Ihe tex! before Chr£ste: The melodic pattern of Chrisle, by keeping entirely within the fifth re-Ia, brings about a sort of contrast which
fully authorises the introduction of si flat in the ~companiment (do natural in the transposed version). Either one or the other of these two interpretations must be chosen and retained throughout the course of the thrice-repeated Chnste. (This note was by an error inserted in the text.)
(2). Whichever hypothesis is adopted, the last Clt,.;ste but one in the harmonisations can be used, since the aIJ does not occur in this formula.
p. 19 (I). Or else one of the preceding formulre,
p, 21 (I). Or else in following the rhythm indicated by the groups for in eXtelsis.
p. 23 (I). The harmony for the first Kvri« can equally well be used again in this case.
P.40 (I). The alto may keep on with mi.
p. 42 (1). Or else tltJ sltarp in the alto.
p. 63 (1). The entire absence of any fa in this Kyne, (we arc !10~ speaking here of. the transposed version) the insistence on the third sol-la-si q, the equivalent melodic formuIre, all these three features lead one to conclude that the melody suggests fa #rather than fa ~, and tha~ lh~ logical way of writing the piece, Instead of being In the final si, would naturally be either in th~ final mi or la (with si p), although in actual practice anyone of these three ways of transcribing the melody is quite possible. This seems to justify a discreet use of the passing fa #(mi ~ in the transposition adopted here). One might write for instance, 3rd K)'rie etc., see p. 63 below,
p. 79 (I). We owe this harmonic formula (Irorn cc Ex Man'a Virgine") as well as others inspired by it, to Andre Caplet, the lamented author of " Le J1firoir deJisus ",